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Full text of "Roland D-50 Owner's Manual"

I^Roland 



■M31UNEAFI SYNTHESIZER 



□-5a 



Owner's Manual 

Advanced 

MIDI Implementation 

D-50 Edit Map 

D-50 Sound Chart 





The lightning flash with arrowhead symbol within an equ ilateral 
triangle, is intended to alert the user to the presence of un- 
insulated "dangerous voltage" within the product's enclosure 
that may be of sufficient magnitude to constitute a risk of 
electric shock to persons. 

The exclamation point within an equilateral triangle is intended 
to alert the user tc the presence of important operating and 
maintenance (serviang) instructions in the literature accom- 
panying the product. 



[instructions pertaining to a risk of fire, electric shock or injury to persons. I 

IMPORTANT SAFETY INSTRUCTIONS 



WARNING When using electric products, basic precau- 
tions should always be followed, including 
the following; 

1. Read an the instructions before using the product. 

2. Do not use this product near water- for example, 
near a bathtub, washbowl, kitchen sink, in a wet 
basement, or near a swimming pod. or the like. 

3. This product should be used only with a cart or 
stand that is recommended by the manufacture. 

4. This product, either atone or in combination with an 
amplifier and headphones or speakers, may be 
capable of producing sound seveSs that could cause 
permanent hearing loss. 

Do not operate for a long period of time at a high 
volume level or at level that is uncomfortable. If you 
experience any heanng toss or ringing in the ears, 
you should consult an audiotogtst. 

5. The product should be located so that its location or 
position does not interfere with its proper ventilation. 

6. The product should be located away from heat 
sources such as radiators, heat registers or other 
products that produce heat. 

7. The product should avoid using in where it may be 
effected oy dust. 

8. The product should be connected io a power supply 
only of the type described in the operating instruc- 
tions or as marked on the product. 



9. The power-supply cord of the product should be 
unplugged from the outlet when left unused for a 
long period of time. 

10. Do noi t/ead on the power-supply cord. 

11. Do not pull the cord but hold the plug when 
unplugging. 

12. When setting up with any other instruments, the 
procedure should be followed in accordance with 
instruction manual. 

13. Care should be taken so that objects do not fall and 
liquids are not spilled into the enclosure through 
openings. 

14. The product should be serviced by qualified service 
personnel when; 

A: The power-supply cord or the plug has been 
damaged: or 

B; Objects have fallen, or liquid has been spilled 
into the product: or 

C: The produci has been exposed to rain; or 

D; The product does not appear to operate 
normally or exhibits a marked change in perfor- 
mance: or 

E: The product has been drooped, or the enclosure 
damaged. 

15. Do not attempt to service the product beyond that 
described in the user-maintenance instructions. All 
other servicing should be referred [©qualified service 
personnel. 



SAVE THESE INSTRUCTIONS 



ADVARSEL! 

Lithiumbatteri. Eksplosionsfare, 

Udskrftning ml Run foretages af en sagkyndig, 

og som beskrevet i servicemanual. 



VARNING ! 

Lithiumbatteri. Explosionsrisk. 

Far endast bytas av behorig servicetekniker. 

Se instruktioner i servicemanuaten. 



ADVARSEL! 

Lithiumbatteri. Fare for eksplotion. 

Ma' bare skiftes av kvalifisert tekniker som 

beskrevet i servicemanualert, 



VAROITUS! 

Lithiumparisto. Rajahdysvaara. 
Pariston saa vaihtaa ainoastaan 
alan ammottimies. 



WARNING 

THIS APPARATUS MUST BE EARTH GROUNDED. 

The three conductors of the mains 
lead attached to this apparatus are 
identified with color as shown in the 
table below, together with the 
matching terminal on the UK type 
power plug. When connecting the 
mains lead to a plug, be sure to 
connect each conductor to the cor- 
rect terminal, as indicated. 
"This instruction applies to the 
product for United Kingdom." 



MAINS LEADS 


PLUG 


Conductor 


Color 


Mark on the matching terminal 


Live 


Brown 


Red or letter I 


Neutral 


Blue 


Black or letter N 


Grounding 


Green- 
Yellow 


Green, Green -Ye Mow. letter E 
or symbol 



Bescheinigung d« Hemellers /Importer rs 

Hiermit wird bescheinigt, da6 der/die/das 

ROLAND LINEAR SYNTHESIZER 0-50 
<g«*»i. '*? e«»«*»*^> 



in Ubereinstimmung mix den 8estimmungen der 

Amtsbl. Vfg 1046 / 1984 



funk-entsto-t ist. 

Dei Oetuscben 8undespos< wurde das Inverkthtbnngen dieses Gerates 
angezeigt und die BereefHigung Jui Uberprutung <stt Stnt auf Embattling 
der Bestimmungen eingeraumt. 



Roland Corporation Osaka / Japan 



RADIO AND TELEVISION INTERFERENCE 




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Please read the separate volume "MIDI", before reading this owner's manual. 



Copyright © 1987 by ROLAND CORPORATION 

All rights reserved. No part of this publication may be reproduced in 
any form without the written permission of ROLAND CORPORATION. 



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IMPORTANT NOTES 



Power 



►The appropriate power supply for this 
unit is shown on its name plate. Please 
make sure that the line voltage in your 
country meets the requirement. 

►Please do not use the same socket used 
for any noise generating device (such 
as a motor or variable lighting system.) 

►This unit might not work properly if 

turned on immediately after being turned 
off. If this happens, simply turn it off 
and turn it on again after waiting a 
few seconds. 

►It is normal for this unit to become 
hot while being operated. 

►Before setting up this unit with other 
devices, turn this unit and all the other 
units off. 



•The D— 50 features a memory back — up 
system that retains the data even when 
switched off. The battery that supports 
the back-up circuit should be replaced 
every five years. Call Roland for battery 
replacement.(The first replacement may 
be required before five years, depending 
on how much time had passed before 
you purchased the device. 

#To avoid accidental erasure or loss of 
data, please make a data memo, or save 
the data onto a Memory Card. If it happens 
to be erased while the device is being 
repaired, there is no way to restore the 
data. 

*When the battery is tow, the Display defaults 
as shown below, and the data in the memory 
may be lost. 



(When disconnecting the power plug from 
the socket, do not pull the cord but 
hold the plug to avoid damaging the 
cord. 



Check Internal Battery 



►If the unit is not to be used for a long 
period of time, unplug the cord from 
the socket. 

(Operating this device near a neon or 
fluorescent lamp may cause noise 
interference. If so, change the angle or 
the position of the device. 

(Avoid using this device in extreme heat, 
humidity or where it may be affected 
by dust or vibration. 



►Use a mild detergent for cleaning. Do 
not use solvents such as thinner. 



OUTLINE OF THE D-50 

CD OUTLINE OF THE D-50 



The ROLAND D-50 is very different from any other synthesizer, 
past or present, and as such heralds the dawn of a new era in 
synthesis. In the past, synthesizers have progressed through several 
very diffrent stages. Firstly, there were ANALOG synthesizers, which 
relied on a variety of components, such as, VCO's, VCF's, and 
VCA's. These analog building blocks were relatively easy to 
understand and program , and they could produce sounds of 
remarkable warmth and character. However, when it came to 
accurately simulating acoustic sounds, the process could easily 
become too involved. 

On the other hand, the next breed of synthesizers, known as 
DIGITAL synthesizers, could easily simulate acoustic sounds, yet they 
were far more difficult to program. Furthermore, the digital 
technology behind these instruments seemed to imply that a 
different type of sound should occur. In general, just as an analog 
synthesizer would be described as "warm", in character, the digital 
counterpart was very often "thin". Essentially, the two types 
complemented each other, one being easy to program, the other 
capable of accurate simulation. 

The ROLAND D-50 has now changed all that. Thanks to a new 

custom disigned Integrated Circuit known as the 'LA CHIP'. Here, 
LA stands for Linear Arithmetic synthesis which is the heart of the 
new technology. LA synthesis involves a great many technological 
advances resulting not only in a superior sound quality but also an 
improved ease of programming. In this way, Roland has succeeded 
in maintaining a high degree of familiarity to the user despite the 
technical wizardry involved. 

To explain the D—50 in a very simple manner, we must begin by 

saying that it is the next step in DIGITAL synthesizers. This means 
that the sound is entirely computer generated. In fact, the D— 50 
has four distinct sections : 

1. A Digital Synthesizer 

2. A Digital Equalizer 

3. A Digital Chorus section 

and 4. A Digital Reverberation section. 

Moreover, these four sections occur entirely within the DIGITAL 
DOMAIN, resulting in a sound quality far beyond that of four similar 
units combined. Consequently, the musician can take advantage of 
■ a complete instrument, one that requires no additional effects or 
processing. 

However, the true power of LA Synthesis lies within the Digital 
Synthesizer section of the D— 50. Remember, first of all, that this is 
a totally digital instrument, even though the sound would seem to 
suggest far more. Through LA synthesis, the D— 50 appears to have 
four powerful synthesizers built in. Each of these hypothetical 
synthesizers could behave like a conventional analog syntheizer, or 
a PCM sampled synthesizer. Consequently, they are referred to as 
PARTIALS, since they are far more than just a pure synthesizer. 
These Partials are combined in pairs to form a TONE. A Tone could 
either be a mix of the two Partials, or they could take advantage 
of the LA version of cross modulation. In this way, some of 
today's more popular digital sounds are remarkably easy to achieve. 



OUTLINE OF THE D-50 



Patch 



Key Mode 



[ Tone Tuning J 



^ 



Upper Tone 







Variations of 
Control Functions 



Z 







j Tone Tuning 



Volume Balance 
of Tones 



o 



Output Mode 
(.e.g. Reverb) 



q=> 



Tone 

















Partial 1 




















Partial 2 






V 











Structure 



J 



■ [ENV for pitch control] 



3 UFO'S 



D 



Common 



»(" Equalizer )C$[ Chorus ] C 



C> 



During live performance, you can easily select a PATCH, which is 
the combination of two Tones, together with programmed E.Q., 
chorus and reverberation. These other parameters are referred to as 
COMMON parameters since they are common to both Tones. 
Throughout the process of programming the D— 50, the operation 
remains simple and logical. Even so, to further improve the ease 
with which sound can be created, an optional programmer, the 
PG-1000 is available, which graphically displays all the parameters 
of the D-50, making it exceptionally simple to operate. 

However, it is the performance characteristics such as after- touch, 
and the control of every aspect of the sound that makes the D-50 
a totally new instrument. These things and a sound that can only 
be described as unique, the LA sound. 



Partial Block Diagram 



Partial (Synthesizer Sound Generator) 




Partial (PCM Sound Generator) 








*>u 




050 


'«M\v ! 




KUNWC 




HTCJVQLATM 


rv« i 












| 










4 


wren 
moos** 






CKVtU** 




















WG 


i 




T 


A 



CONNECTION 



[2] CONNECTION 



T««> OwT 



£S& 






S«rt& l«S COMTBOt 



mft. Kon. 



/ 



Connect to 
MIDI devices 





Headphones 



Pedal Switch 
DP-2 

(or DP-6) Expression rhL-\ qq 
Pedal 
EV-5 



o_ 



Stereo Amplifier 



o 



PLAY MODE 



3 PLAY MODE 



Make sure that the D-50 is correctly and securely connected with 
the other devices, then turn the D-50 on. 



' ' 


Q €3 


Roland D-5D ??? 


o o o o o o 


\ 


US^Qffi^i^ 




/ 


Powe 


Switch 







The Display responds as shown below. 



J****** Linear - Synthesizer* D — -5@ .+***+* 

Roland Corporation 



o 



WHOLE SP C4 Bal 5© 



UJ jfcsfcsfcsfcsfc***** 



1. Patch Selection 



The D— 50 retains 64 different Patches. A Patch is represented by 
a Bank Number (1 to 8) and a Patch Number (1 to 8). 



Number 
8ank\ 1 2 3 4 S 6 7 8 



1 


















2 


















3 








i 










4 


















s 


















6 


















7 


















8 



















m 



Bank 3^ Number 4 
8ank 7 S Number 2 



PLAY MODE 



To select a Patch, assign the relevant Bank and Patch number. 



JBSw 




] 



:ss* 






<J«. J& JBS JSc S^ "«8* » 

r=l r 1 1 1 m I — 71 i=l CZ 



CZJI 



i en czi rj-j czi □ czi 



Assign a Bank 



i nv • vw« ♦ »i- 


i 1 1 ■■;■ 1 1 i 


* Ml » «**» 4 *0« 


1 ""1 1 II 1 




1 li M 1 


r -L 'n "li i 





— ; ; ; l J' c " "*% « > « 


1 1! 11 If "II" II II H 1 







Assign a Number 



The Display shows the selected Patch. 



• When a Patch from the interna! memory is 

selected. "I" is shown. 

• When a Patch from the Memory Card is 

selected. "C" is shown. 



The Bank and Patch number of the 
selected Patch is shown. 



The names of the two Tones (U : Uoper. L : Lower) 
are shown. 



Patch Name 



I - 11 ****************** 

WHOLE SP C4 Bal 50 



Split Point 



Us ********** 
l_: ********** 



The volume balance of the Upper and 
tower Tones is shown. 



•Key Mode is shown 
Key Mode determines how the Uoper and Lower Tones are played on the keyboard. 

3 Key Modes 



WHOLE 


The Upper Tone is played on the entire keyboard 
in 16 voice polyphony. 


DUAL 


Both Upper and Lower Tones are played by each 
key in 8 voice polyphony. 


SPLIT 


This mode divides the keyboard of the D-50 int 
o upper and lower sections where two different T 
ones can be used. 

Each section of the keyboard is 8 voice poly- 
phonic. (Middle C-C4) 



*Some other special Key Modes are also provided. 



[MEMORY CARDj 



Up to 64 different Patches can be stored on one Memory Card (M 
-256D). You can save the sounds you have made onto a Memory 
Card and recall them later. 



10 



PLAY MODE 



Connect the Memory Card securely and correctly as shown in the 

diagram. 



Memory Card 



iz 



EAR 
MTHESIZER 




D 



S8S 



TSS" 



CDC=)1=3 



CDCP CZIC 



KZZJCDIZ^CZtlZZ] c 



3CZDCZ1I 



Internal Button Card Button 



To call a Patch on the Memory Card, simply push the Card Button. 
To return to the Internal Memory mode, push the Internal Button. 

*The Patches preprogrammed on the supplied Memory Card (ROM) can 
be restored even if rewritten with new Patches. 

* Please be sure to use the correct Memory Card (e.g. the supplied 
Memory Card, M— 256D, etc.). 

*lf you use a Memory Card that contains data for equipment other than 
the D— 50, the following error message will be shown in the Display 
for a few seconds. 



Illegal Card 



*The optional memory card M— 256D comes from the manufacturer 
without any data programmed on it, therefore, if you try to read data 
from it, the above error message is shown for a few seconds, 
indicating that the memory card cannot be used. To avoid this, it is 
required to copy the D— 50's data onto the memory card before using 
it, as explained on page 65 "a. Patch Transfer to the Memory Card" 
in the different volume ADVANCED. 



11 



PLAY MODE 



2. TUNING 



The D-50 can be tuned to other musical instruments.(Master Tune) 




y 



jus, sa «t *&* '■■«• v <g~ w 

r— i r— — 1 i 1 i 1 i 1 1=1 CT 



.? 



Step3 
Stepl 



Step2 



Increment Button Decrement Button 



C=D 



l=r 



;>~~. 



( ir- ir 7) 


4 *« » HM> < #4* 


1 *"1 |' ,11., , 1 


• AM 1 W* J «*« 


........ ^ , , , , 



-rrrDCZ-] 



ncricziizziczi 



Step4 Step3 



Step 1 Push the Tune/Function Button. 

The Display will change. 



Master- Tune 
442Hz 



Protect Pedal SW ExtCont 
ON P-SFT BAL 



Step 2 



Select "TUNING" using the appropriate Selector Button. 



Master Tune 
/>42Hz 



Protect Pedal SU ExtCont 
OH P-SFT BfiL 



\7 

cm l~~z~ c 



lzz: : 



This flashes when 
the corresponding 
Selector Sutton is 
pressed. 



Master Tune 
— *~442Hz 



Protect Pedal SW ExtCont 
OH P-SFT BflL 



Step 3 Tune the D-50 as follows. 

For fine tuning, use the Increment Button and the Decrement Button. 
Holding the Increment Button down raises the pitch, and the 
Decrement Button lowers pitch. 

To change pitch drastically, move the Joystick right and left. 

Movement to the right raises pitch. 



12 



PLAY MODE 



The number shown in the Display is the frequency of the standard 
pitch (A=440). The number in the Display changes in 1Hz steps, but 
the pitch actually changes almost continuously. 

Step 4 Push the Exit Button, and the Display returns to the normal Play 

mode indication. 

The Master Tuning you have set is retained in memory even after 
the unit is turned off. 



13 



PLAY MODE 



3. CONTROL FUNCTIONS 



Control Functions can be effectively used for changing the sound 
during live performance. 

*How each Control Function actually affects the sound differs depending 
on the individual Patch (Tone). Some Patches may not be affected at 
all. 



[Key Transpose Button] 

This function transposes the entire keyboard in semi- 
tone steps, allowing you to play the same keyboard 
in different keys. 

While holding the Key Transpose Button down, the 
Display shows as below. 



Key Transpose = 0© 



If the value is set to other than zero, the indicator of the 
Key Transpose Button will light up. 

While holding the Key Transpose Button down, push 
the Increment or Decrement Button to set a value — 12 
to +12 ( ± 1 octave) 





INCREMENT 




KEY 

TRANSPOSE 


I I - 


Transpose up 


jf I 


+ 

DECREMENT 




rt 




I I = 


Transpose down 











KEY 

TRANSPOSE 





ON 



*The Key Transpose you have set will be retained even 
after the unit is turned off. 



[Aftertouch Control Knob] 

Aftertouch is the function that causes any change 
when the key is pushed harder after playing it in 
a normal manner. The change caused by the after- 
touch includes pitch, vibrato, timbre and volume. 
The maximum effect of the aftertouch is set indi- 
vidually in each Patch or Tone, but the overall sen- 
sitivity can be changed with this Knob. 



[Master Volume Knob] 

This controls the volume of the sounds sent from 
the Output Jack and the Headphone Jack. 



1<KXM 



IJL 



IJL 



Pf 







cr>* 



[Bender Lever] 

Using the Bender tever, you can change the pitches, or 
create a vibrato effect. 



Pushing it to the left 
lowers the pitch . 



Pushing it to the right 
raises the pitch. 



^A% 




& 



Pushing itforward{in the direction of MODULATION) generates 
vibrato effects. 



[Chase Button] 

The Chase function can output either Lower Tone 
slightly later than the Upper Tone which you have 
played. The Chase function is available in the 
Whole or Dual Key mode. When this function is 
used in some Patches, delay or sound-on-sound 
like effects can be obtained. 

Pushing the Chase Button turns the function on, 
and pushing it again turns it off. 

CHASE CHASE 






ON OFF 

If the Chase Button is pushed in a Key Mode 
other than Whole or Dual, the Display responds 
as shown below without the Chase function being 
turned on. 



Set Ke* node WHOLE or- DUAL 



[Portamento Button] 

Portamento is a slide from one pitch to another, and is often 
used for violin performance. 

Pushing the Portamento Button turns the function on, and 
pushing it again turns it off. 

PORTAMENTO PORTAMENTO 

ON OFF 



14 



PLAY MODE 



[Velocity] 
(Partial Balance] 



Step2 

1 



Step 1 

Stepl 
i 




a 



Velocity refers to dynamics, controlling volume, pitch and timbre. 
This allows piano—like performance. 

Using the Joystick, the following two volume balance controls can 
be adjusted at the same time. 

•Volume balance of the two Partial sounds of either Tone ; Upper 
or Lower. 

• Volume balance of the Upper and the Lower Tones. 

Partial Balance drastically changes the generated sounds. 

Select either Tone with the Partial Balance Button. 




Upper Tone 
Lower Tone 



•&&. 



y 



cS3« Sic. Sfl 



'«!« "Sf HSr- 



1 1 


II 


1 






»^i- 


1 ""1 


- \(~ 1 


* *frC 


Ml 3 «*• 


r~""1 


N 1 






!' ' "1 


II'" "I 



DLT^CZimitZZlCZilZDCZD L^DCZIC^LTZICZZIIZZIIZZII 



Step 2 



Pushing the button will light up the corresponding indicator. 

By moving the Joystick, adjust the volume balance of the two 
Partial sounds and the Tones. 




«(§)♦ 



Volume balance of two Tories changes. 



volume balance of the selected 
Tone's Partial* changes. 



The volume balance of the Tones is shown in the Display. 



I — 11 ****************** |j: ********** 

WHOLE SP C4 Bal 50 L: ********** 



Volume Balance of the Tones 



15 



PLAY MODE 



*The volume balance you have set here is not automatically written, into 
memory, and therefore will be erased when another Patch is selected. 

*To write the Patch with a new Partial Balance setting, follow the 
"Writing Procedure" on page 28. 



[Pedal Control] 



By connecting a pedal to the Control Input Jack, you can control 
various functions with the pedal. 



© © © 



o o o o o o 



Pedal Switch | 
(DP-2,DP-6) 



[Pedal Switch] 

The connected pedal switch can control the function 
(parameter}which is selected in the Control Functions. 

* Patch Shift function is selected by the manufacturer. 

The Patch Shift function allows you to change the 
Patch Numbers sequentially. 

(e. g.) 






\ 


' 






1-11 






1 






1-12 






l 


' 






1-13 






1 


' 






1-14 






\ 


1 






1-15 






1 






1-16 






' 


' 






1-17 






' 


' 






1-18 





















Expression Pedal 
(EV-5) 



[Expression Pedal] 

This controls the volume of sound. 



Expression Pedal 
(EV-5) 



[External Control] 

A function selected in the Control Functions can be 
controlled. 

*Tone Volume Balance is selected by the manufacturer. 



Pedal Switch 
|{DP-2,DP-6) 



[Pedal Hold Sustain] 

Turns on or off the Hold effect, which allows the sound 

to be held even after the key is released. 



16 



PLAY MODE 



• Changing Control Functions 

Each of the pedals connected to the Pedai Switch Jack and the 
External Control Jack can work differently, depending upon which 
function is assigned to each pedai. 



Step3 (The set value changes by moving \ 
I \ it to the right or to the left. / 




> 



OtnJ* dot JG&r t-m * 



l ,K* 



TLZD fZZIL^ CZ!CZ:CZ)CZIC3CZ]=ICZ} 
Stepl Step2 



Decrement Button 
Increment Button 
,-ssj.. , m 



nr~i r~~^ ic 



, o.. 



DCDC 



ii ii 1 



i czi rzzi nz\ cz: 



Step4 Step3 



Step 1 Push the Tune/Function Button. 

The Display changes. 

Step 2 By using the appropriate Selector Button, select the pedal to which 

you wish to assign a function. 











Master Tune Protect Pedal SW ExtCont 
442Hz ON P-SFT BRL 











t t 



Pedal Switch External Control 

Pushing the button will cause the function currently assigned to the 
pedal to flash. 

Step 3 By using the Joystick, or the Increment and Decrement Buttons, 

select the function to be asssigned. 



17 



PLAY MODE 



The functions which can be assigned to each pedal are shown below. 



Pedal Switch 



Control Function 


Description 


P-SFT (Patch Shift) 


Increases the Patch Number. 


PORTA (Portamento) 


Turns the Portamento effect on or off. 


CHASE (Chase) 


Turns the Chase effect on or off. 


OFF 


The D-50 cannot be controlled, but the connected MIDI device can 
be controlled. (See page 52 "MIDI" in the Advanced Course.) 



External Control 



Control Function 


Description 


BAL (Tone Balance) 


Controls the volume balance of the Upper and the Lower Tones. 


AFTER (Aftertouch) 


Controls the Aftertouch effect. 


MOD (Modulation) 


Controls the vibrato effect. 


OFF 


The D-50 is not controlled, but the connected MIDI device can be 
controlled. (See page 52 "MIDI" in the Advanced Course.) 



*The Control Function set here will be retained even after the unit is 
turned off. 

*When AFTER is selected in the External Control section, aftertouch 
cannot be controlled by the keyboard. 



18 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



4 EDITING PERFORMANCE CONTROLLING FUNCTIONS 



The performance controlling (unctions (we call them "Factors" in 
this manual) in each Patch can be edited by taking the following 
procedure. 

A Patch consists of several Factors as shown below. 



Patch 



^ 



Tone Tuning 



$ 





s 








Key Mode 












^ 



Upper Tone 



1> 



V 



Variations of 
Control Functions 



Volume Balance 
of Tones 



O 



Output Mode 
(e.g. Reverb) 



V 



/\ 



Lower Tone 



ft 



Patch Name 



Tone Tuning 



MID! 



:> 



1. BASIC EDITING OPERATION 



The Display shows several Factors at a time. If necessary, Scroll up 
or down the Display to find the Factor to be edited by using the 
Scroll Buttons. Then push the Selector Button that is located under 
the Factor you wish edit, and the Factor flashes showing that it can 
be now edited. To return to the Play mode Display, simply push the 
Exit Button. 



Joystick 



Decrement Button - 
increment Button- 




I II II I 




... . W~> » .0- 






r: ii ii i 




o ***a «*»«* 


c n ii -i 



3 CD nz\ fZZI CZ7J en c 



Scroll Button Selector Buttons Scroll Button Exit Button 



19 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



How to change the value of a Factor 

•To change the value drastically, use the Joystick. Moving the 
Joystick to the right will increase the number. 

* Usually, moving the Joystick forward and backward does not affect 
the value. 

♦To change -the value slightly, use the Increment ami the Decrement 
Buttons. Pushing the Increment Button increases the number and 
pushing the Decrement Button decreases it. 

To return to the Play mode Display, you may need to push the Exit 
Button several times. 

*The edited data will be erased when a new Patch is selected. 

*To retain the edited data in memory, follow the "Writing Procedure" 
on page 29. 

*The D— 50 does not allow you to change Patches unless it is turned 

to the Play mode by pushing the Exit Button. This is to reduce the 

possibility of accidental erasure of the edited data caused by pushing 
a Patch Button by mistake. 



[Compare] 



This function can be used while editing. While you are editing a 
Patch, you may want to call the original Patch, to compare it with 
your edited version. 



Step 1 



Push the Compare Button. 



COMPARE 



The Display responds as shown below, and the original Patch is 
heard by playing the keyboard. 



************ Compare ************* 



Step 2 



Push the Compare Button again, and the edited Patch is retrieved. 



20 



2. KEY MODE 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



Key Mode refers to how the Upper and Lower Tones arc played on 
the keyboard. 



Step 1 



Push the Selector Button (Key Mode). 



This flashes when tho 
Key Mode Button is — 
pressed. 



I — U ****************** 

[WHOLE] SP C4 Bal 5Q 



[_: ********** 



KEY 
MODE 



Step 2 



Select any of the following nine Key Modes using the Joystick. 



Key Mode 


Description 


WHOLE 


Upper Tone can be played in 16 voice polyphony. 


DUAL 


Both Upper and Lower Tones are played by each key in 8 voice polyphony. 


SPLIT 


The Split mode divides the keyboard into upper and lower sections, where two 

different Tones can be played in 8 voice polyphony. 

That is, the D-50 works like two 8 voice synthesizers. 

The Split Point (where the keyboard is divided into two sections) is shown 

next to the Key Mode indication. 


SEP (Separate) 


This mode is effective when an external MIDI device is controlling the D-50. 
(See page 52 "MIDI" in the Advanced Course.) 


WHOL-S (Whole Solo) 


The Upper Tone is monophonic. 


DUAL-S (Dual Solo) 


Both Upper and Lower Tones are monophonic. 


SPL-US 

(Split Upper Solo) 


The Upper Tone is monophonic, and the Lower Tone is 8 voice polyphonic. 


SPL-LS 

(Split Lower Solo) 


The Lower Tone is monophonic, and the Upper Tone is 8 voice polyphonic. 


SEP-S 
(Separate Solo) 


This mode is effective when an external MIDI device is controlling the D-50. 
(See page 52 "MIDI" in Advanced Course.) 



21 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



• Changing the Split Point 

The Split Point can be changed as follows. 



Step 1 



Push the Selector Button (SPLIT POINT). 



This flashes when the 
Split Point Button is 
pressed. 



I — 11 ****************** 

WHOLE SPr'cT: Bal 50 



U: ********** 



J- 



~y SPLIT 
POINT 



D 



EXIT 



Step 2 Using the Joystick, set the Split Point represented by a note name. 



wuHiiiinwnmiiiiuini 



j i 



C2 B2 C3 B3 C4 B4 C5 B5 C6 B6 C7 

(Middle C) 



3.VOLUME BALANCE OF THE TONES 



The volume balance of the Upper and the Lower Tones can be 

changed as follows. 



Step 1 



Push the Selector Button (TONE BALANCE). 



I— 11 ****************** 
WHOLE SP C4 BalE'S&i 



I I ■ ~<T* «T' -7* -t* -T- -t- -▼■ *t* ■T 1 ■t 1 

l_; ********** 



TONE \. 

BALANCE 



lTP ^^ ^^ 



This flashes when the 
8alance Button is pushed. 



EXIT 

LZZ1 



Step 2 



Change the value with the Joystick. 



22 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



4.TONE DETUNE 



The relative pitch of the Upper and the Lower Tones can be 
separately set. By setting slightly different pitches, a detune effect 
can be obtained. Also, by lowering the pitch of the Upper Tone, and 
raising the pitch of the Lower Tone, the pitches of the two Tones 
can become exactly the same. 



Step 1 : Push the left Scroll Button. 











J — 11 ****************** U 5 ********** 

WHOLE SP C4 Bal 53 L: ********** 











TONE 
DETUNE 



EXIT 



L_J 



\ 1 



Step 2 : Select the parameter to be edited with 
the Selector Button and edit it with the 
Joystick. 



I—fifi ****************** Tone Tune 
LKey+24 UKey-12 LTun-59 UTun+58 



EXIT 



Key Shift of the Lower Tone— * 

This allows you to shift the pitch of the Lower 
Tone in semi— tone steps from —24 to +24 
<±2 octave). 



Key Shift of the Upper Tone- 



] L_Z_1 



1 — Fine Tuning of the Upper Tone 

This allows you to tune the Ditch of the Uoper Tone 
from -50 to +60 (approx. ±50 cents). 



.Fine Tuning of the Lower Tone 



This allows you to shift the pitch of the Upper 
Tone in semi— tone steps from —24 to +24 
(±2 octave) 



This allows you to tune the pitch of the Lower Tone 
from -50 to +50 (approx. ±50 cents) 



23 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



5. CHASE PLAY 



The Chase Piay function makes it possible to output the Lower Tone 
slightly later than the Upper Tone which is actually played on the 
keyboard. This function, however, is only available in Dual or Whole 
mode. 



Step 1 : Push the right Scroll Button. 











1 — 1 1 vjC vf; J^- ■T- ; t' ^T" ■"!■• f* 't- "t- ""r -t- * V *t- -"K : T^ •T 1 ^J * '"P ■"¥• •T- «T* ■"¥* •T* -T- _ f - -f- *t- 

WHOLE SP C4 Bal 50 L: ********** 











PATCH 

EDIT 



EXIT 



LZZ! [ 



UZ3 C 



Step 2 : Select "Chase" with the 

corresponding Selector Button. 



I —11 ****************** Patch Edit Menu 
< P-Nane > < Con tro 1 > < Output > < Chase > < M I D I ; 



] LZZ1 



UZ\ 



EXIT 



Step 3 : Select the parameter you want to 
edit with the Selector Button and 
edit it with the Joystick 





" 












I — 11 ****************** Chase Edit 
NodeULL Levi 50 Tifie 58 











EXIT 



Mode 

This sets how the Tones sound. 

♦When the Key Mode is Dual, the following choices are available. 

UL The Upper Tone then the Lower Tone is played. 

ULL The Upper, then the Lower is repeated. 

ULU The Upper, the Lower and the Upper Tone alternate. 

#When the Key Mode is Whole, the following choices are available. 
UL The Upper Tone is played twice. 
ULL Upper Tone is repeated. 
ULU Upper Tone is repeated. 



Time 

This adjusts the sounding time from to 100. 
Higher value is longer time. 

■ Level 

This sets the volume of the chase sound, from to 100. 



* Depending on the Chase Level and Velocity, the number of repeats of 
the delayed sound differ, If "TVA Velocity Sens" (page 43) is set to 
0, the sound does, not decay but repeats with the same time. 



24 



6. OUTPUT MODE 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



The Output Mode determines how the Tones take on the reverb 
effect, and how the Tones appear at the outputs. 

■A sound reverberated in an acoustic environment consists of three 
parts. First, you hear the direct sound as it travels from the 
source outward. Next the early reflection resounds once, or several 
times, from the walls, ceiling, and floor. Finally, you hear the 
reverberated sound as it reflects many times in the environment. 




REVERB TYPE 



1 


Small Hall 


2 


Medium Hall 


3 


Large Hall 


4 


Chapel 


5 


Box 


6 


Small Metal Room 


7 


Small Room 


8 


Medium Room 


9 


Medium Large Room 


10 


Large Room 


11 


Single Delay (102ms) 


12 


Cross Delay (180ms) 


13 


Cross Delay (224ms) 


14 


Cross Delay (148 -296ms) 


15 


Short Gate (200ms) 


16 


Long Gate (480ms) 



17 


Bright Hall 


18 


Large Cave 


19 


Steel Pan 


20 


Delay (248ms) 


21 


Delay (338ms) 


22 


Cross Delay (157ms) 


23 


Cross Delay (252ms) 


24 


Cross Delay (274- 137ms) 


25 


Gate Reverb 


26 


Reverse Gate (360ms) 


27 


Reverse Gate (480ms) 


28 


Slap Back 


29 


Slap Back 


30 


Slap Back 


31 


Twisted Space 


32 


Space 



25 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



Step 1 : Push the right Scroll Button. 











I- li ****************** U: ********** 
WHOLE SP C4 Bal 5@ L* ********** 











3 L" 



PATCH 
EOtT 



EXIT 



Step 2 : Select "Output Mode" with the 
corresponding Selector Button. 



I — 11 ****************** Patch Edit. Menu 
< P-Harce > < Centre IX Output > < Chase > (MIDI) 



IZZ1 E 



ltd 



Step 3 : Select the parameter to be edited with 
the Selector Button and edit it with 
the Joystick. 



EXIT 

LZZI 











I - 1 1 * * * * * * * * * * * * * * * * * * u t put Mode E d i t 
Mode Ol Rev 81 RballSQ UollOO 











EXIT 



Output Mode — — 

Thi$ selects one of the following four output modes. 



Total Volume 

This sets the volume of both Tones from to 100. and 
therefore adjusts the volume difference between Patches. 

• Reverb Balance 

This sets the volume balance of reverb and direct sounds 
from to 100. 



100 

I 





The volume of the reverb sound= maximum, the volume 
of the direct sound«*0. 



The volume of the reverb sound=0. the volume of the 
direct sound —maximum. 



Reverb Type 

This selects one of the 32 reverb types,(See page 25.) 



| iyimit=A- 



U.OUT 
• LOUT 



Stereo reverb works on the mixed sound of Upper and 
Lower Tones, and is sent out in stereo. 



c 



WE223£M=?~ 



U.OUT 
■ LOUT 



The Mixture of Upper and Lower takes on stereo reverb, and 
the direct sound is sent out separately for Upper and Lower. 



w 



■■UJtJgf — 7 - 



U.OUT 
■ LOUT 



Only the Upper Tone takes on reverb. Upper and Lower 
Tones are sent out separatety. 



il EBS@Sa=^ 



c 



V8fflEB*=±- 



U.OUT 
• L.OUT 



Only the Lower Tone takes on reverb. Upper and Lower 
Tones are sent out separately. 



26 



7. PATCH CONTROL 



EDITING PERFORMANCE CONTROLLING FUNCTIONS 



Patch Controls determine how the Control Functions actually affect 
the Upper and the Lower Tones. 



Step 1 : Push the right Scroll Button 











I - 1 1 * ** *************** U : ********** 
WHOLE SP C4 8a 1 59 L: ********** 











PATCH 
EDIT 



EXIT 



] lzzi c 



] CUD 



Step 2 : Select "Control" with the 

corresponding Selector Button. 



I — 11 ****************** Patch Edit Menu 
< P-Nane > < Con tr o 1 > < Output > < Chase > < M I D I > 



EXIT 



LZZ] LT 



czn 



Step 3 : Select the Control function to be edited 
and change the value with the Joystick. 



I— 11 ****************** Control Edit 
Bend 12 flfPB+12 Port 88 Port UL Hold UL 



] c 



Bender Range 



LZZ3 L" 



This sets the variable range of the pitch change 
caused by moving the Bender lever right and left 
from to 12 {1 octave). 

*The variable range set here may result differently 
depending on the setting of the Tone Parameters. 



Aftertouch, Pitch Bender 

This sets the sensitivity of the aftertouch 
effect on pitch. — 12 to +12 are valid. 
Higher values mean higher sensitivity. 
A Minus setting decreases the pitch, and 
a plus setting increases it. 



Portamento Time 

This sets the Portamento time from one 
note to another. 1 to 100 are valid. Higher 
values make the time longer. 



EXIT 



] c 



Hold Mode 

This selects the Tone that should take on the Pedal 
Hold effect. 
U Pedal Hold works on the Upper Tone. 
L Pedal Hold works on the Lower Tone. 
UL Pedal hold works on the both Tones. 
♦ When the Key mode is Whole. Pedal Hold always 
works whichever of the above three modes may be 
selected. 

- Portamento Mode 

This selects the Tone that should take on 
the Portamento effect. 

U Pedal Hold works on the Upper Tone. 
L Pedal Hold works on the Lower Tone. 
UL Pedal hold works on the both Tones. 
*When the Key Mode is Whole. Portamento always 

works whichever of the above three modes may be 

selected. 



27 



WRITING 



\E WRITING 



The edited data does not automatically rewrite the previous data, 
and therefore will be erased when a different Patch is selected, or 
the unit is turned off. To retain the edited data, take the following 
writing procedure, either into the internal memory or onto the 
Memory Card. 

*When using a Memory Card (RAM) for the first time, be sure to 
write the data in the internal memory onto the Memory Card as 
shown in "Patch Transfer to the Memory Card" on page 65 in a 
separate book, "Advanced", If you take the writing procedure without 
doing this, the Display shows "Illegal Card" for a few seconds and 
writing is not done. This "illegal Card" message is also shown when 
you are using a Mmeory Card that contains the data other than 
D-50's. 



Illegal Card 



[SELECTING A MEMORY LOCATION] 

Writing a new Patch inevitably erases an existing Patch, so you may 
wish to listen to several Patches before deciding which Patch should 
be sacrificed for the new Patch. You can do it using the Compare 
Button. 




y 



d9X< 



CZUCZ) IUDCZ) 



Stepl 



Step3 



T.SK9,, 



■J& 



»s 



'••«• 



IIZZllZZII 



irzzicnczD c 



Step 1 



Step2 
Push the Compare Button. 



The Display responds as shown below. 



************ Cofipar - © ************* 



Step 2 As you change Patches, listen to the sound, selecting the Patch 

Number to be erased. 

Step 3 WHILE HOLDING THE SHIFT KEY DOWN, push the Compare Button. 

This recalls the edited data at the selected Patch Number. 



28 



WRITING 



[WRITING PROCEDURE] 



Step2 



Exit Button 




-f ^ 



> 



ens. .as, »*. ««s» 



".SP 78P 



ioi — I 



*o*w«f * *« 



n riTi i 



•Step4 



=ic±i Bfi 5553c]±e±[± c±][±]i=i[±ii=ic±jczdizzi 



Step3 



Step 1 



Set Memory Protect to OFF. 



>To write the data into the internal memory, set the Memory 
Protect of the D-50 to OFF as follows. 



1 : Push the Tune/Function Button. 



2 : Select "Memory Protect" with the Selector 
Button and turn it OFF with the Joystick. 



TUNE/ 
FUNCTION 



CZ3 



This flashes when the Selector 
Button is pushed. 



~ZL 



Master Tune Project Pedal SW ExtCont 

442Hz [ON] P-5FT BflL 



czn r 



►To write the data onto the optional Memory Card (M-256D), set 
the Protect Switch of the Memory Card to OFF as follows. 




OFF 



29 



WRITING 



Step 2 



Push the Write Button. 



I — 11 #*#!+!:+(*#*##*******# Patch Write 

Write to Fi- 111. Sure ? <Enter^Exit> 



Destination Patch Number 

Step 3 If you wish to rewrite the Patch, skip the following two procedures 

and go to step 4, but if you wish to write the edited Patch to a 
different Patch number, change the destination Patch number as 
follows. 

•To write the Patch into the internal memory of the D-50, push 
the Internal Button, and to write onto the Memory Card, push the 
Card Button. 

♦Assign the Bank and Number of the destination Patch by using 
the Patch Buttons. 

To leave the writing mode, simply push the Exit Button. 

Step 4 Push the Enter Key. 

When writing is completed, the Display responds as shown below 
and then returns to the Play mode indication. 



Complete . 



*lf the Display does not respond as in the above indication, see "Error 
Messages" on page 74 in the Advance Course, and repeat the writing 
procedure carefully. 

Step 5 Return the Memory Protect to ON. 

(as in Step 1.) 

Memory Protect is the function that protects the existing data from 
accidental erasure. Be sure to set Memory Protect to ON except 
when writing new data. 

*When the unit is turned off and on again, the Memory Protect is 
automatically returned to ON. 



30 



SPECIFICATIONS 

D-50:16 Voice Polyphonic Linear 

Synthesizier 



Memory Capacity : 64 Patches 

16 Reverb Types 

[Front Panel] 



[Rear Panel] 



Memory Card Slot 

Joystick 

Chase Button 

Key Transpose Button 

Master Volume 

Scroll Buttons X 2 

Selector Buttons x 2 

Edit Buttons (Value, Local) 

Partial Buttons (Upper, Lower) 

Compare Button 

Copy Button 

Undo Button 

Exit Button 

Data Transfer Button 

Write Button 

Increment Button 

Decrement Button 

Card Button 

Internal Button 

MIDI Button 

Tune/Function Button 

Patch Buttons (Bank 1 to 8, Number 1 

to 8) 

Ten Key Pad (o to 9, Shift, Enter) 

[Display] 

Two Line 40 digit LCD (back-lit) 

[Indicators] 

Portamento 

Chase 

Key Transpose 

Edit (Value) 

Edit (Local) 

Partial Balance (Upper) 

Partial Balance (Lower) 



Output Jack (mono, stereo) 

Headphones Jack 

Expression Pedal Jack 

External Control Jack 

Pedal Hold Jack 

Pedal Switch Jack 

MIDI Connectors (IN, OUT, THRU) 

Dimensions : 

974 (W) X332 (D) X94 (H) mm 
38-3/8" x 13- 1/16" x 3- 11/16" 

Weight : 10.5kg/231b 3oz 



Power Consumption 



22W 



Accessories 



Owner's Manual 
Guide Book' "MIDI" 
Memory Card (ROM) 
Edit Map 

Connection Cable LP — 25 



[Options] 



Stereo Headphones RH-100 
Expression Pedal EV — 5 
Pedal Switch DP-2, DP-6 
MIDI/SYNC Cable MSC-07,15, 25,50.100 
Programmer PG-1000 
Memory Card (RAM) M-256D 
Case AB-D50 
Stand KS-8 



31 



ADVANCED COURSE 

CONTENTS 

(JJOutline of Tone Parameters 3 

1. The Basic Concept of a Tone 3 

2. Structure of Tone Parameters 5 

a. WG 7 

b. TVF 7 

c. TVA ' 7 

d. ENV 8 

e. LFO 8 

©Editing 9 

1. Calling a Parameter 9 

2. Changing Values 11 

a. Local Editing 11 

b. Ten Key Pad 13 

3. Useful Functions for Editing 14 

a. Compare 14 

b. Undo 14 

c. Copy 14 

d. Partial Mute 17 

e. Partial Balance 17 

4. Sound Creation 19 

5. Naming 20 

(3)Tone Parameters 22 

1. Common Parameters 22 

a. Structure 22 

b. P-ENV 23 

c. Pitch Modulation 25 

d. LFO 26 

e. Equalizer 27 

f. Chorus 29 

2. Partial Parameters 30 

a. VVG Pitch 30 

b. WG Modulation 32 

c. WG Waveform 33 

d. WG Pulse Width 35 

e. TVF 36 

f. TVF ENV -. 39 

g. TVF Modulation 42 

h. TVA 43 

i. TVA ENV 44 

j. TVA Modulation 47 

gj Writing 48 



(U MIDI 51 

1. Connection 51 

2. Setting MIDI Functions 51 

a. MIDI Functions commonly set 
for all Patches 52 

b. MIDI Functions individually set 
for each Patch 56 

3. Key Mode Alteration 57 

4. Data Transfer with MIDI-- 61 

©Data Transfer with Memory Card • 65 

1. Patch Transfer- 65 

a. Patch Transfer to the 

Memory Card. 65 

b. Patch Transfer to the Internal 

Memory 66 

2. Copying a Reverb Type 68 

a. Copying from a Memory Card 
to the D-50 68 

b. Copying from the D— 50 to a 
Memory Card ■• 69 

[TjAppendix Tables 70 

1. Patch Factor Table 70 

2. Tone Parameter Table 71 

a. Common Parameters 71 

b. Partial Parameters 72 

3. MIDI Function Table 73 

4. Error Message Table 74 

5. Sample Note 75 



OUTLtNE OF TONE PARAMETERS 



CD OUTLINE OF TONE PARAMETERS 



1. THE BASIC CONCEPT OF A TONE 



A Tone consists of two Partials (Partials 1 and 2) and a Common 
block. 



£> 



Tone 











Partial 1 












Partial 2 




k 




) 



Structure 



(eNV for pitch control] 
[ 3 LFO's ) 



Common 



N ( Equalizer j CZ[) ( Chorus ) C 



Tone Name 



> 



Each Partial (Partial 1 and Partial 2) can have one of two sound 
generators (a Synthesizer sound source or a PCM sound source). So 
you can think of the D-50 having powerful synthesizers built in. 
Each of these hypothetical synthesizers could behave like a 
conventional analog synthesizer, or a PCM sampled synthesizer. Any 
combination of two synthesizers can achieve some remarkable cross 
—modulation effects, so characteristic of today's purely digital 
sounds. 



Some Common parameters apply to both Partials (Partial 1 and 2). 
"Structure" is one of the Common parameters. It decides which of 
the two sound generators is used for each Partial. Other Common 
parameters are an ENV for pitch, three LFO modules, equalizer, 
chorus, etc. 



OUTLINE OF TONE PARAMETERS 



[STRUCTURE] 



Structure, which is one of the Common parameters, determines which 
two of the hypothetical synthesizers (a synthesizer sound generator 
or a PCM sound generator) are to be used as Partial I and Partial 
2. 



A "Synthesizer sound generator" works like a conventional analog 
type synthesizer with an oscillator, a filter, an amplifier and two 
EN Vs. A PCM sound generator provides 100 different PCM sampled 
sounds. 

These two Partial sounds (Partial 1 and Partial 2) can simply be 
mixed as shown below. 




By mixing two Partials, fatter sounds can be obtained. This is 
effective for making strings or organ type sounds. 

Or Partial 1 can be mixed with the ring -modulated sound of 
Partials 1 and 2. 



Partial 1 



Partial 2 



=> 



Ring 
Modulator 



J? 




OUTLINE OF TONE PARAMETERS 



The Ring Modulator multiplies two sounds, creating an unusual and 
metallic sound that contains complicated harmonics. For instance, two 
waveforms ((D and (2)) are muitipled and waveform (§) is created. 
This is effective for making metallic sounds. 



© 





x = f 



2. STRUCTURE OF TONE PARAMETERS 



Depending on which generators are selected in the Partial Block, 
greatly different Tone Parameters will be used. Some Tone 
Parameters used for the Synthesizer sound generators are irrelevant 
to the PCM generator (see the diagram below). 



In a Structure with Ring modulation, some parameters of Partial 2 
are automatically set to those of Partial 1. See page 22 "Tone 
Parameters" for a detailed explanation. 



OUTLINE OF TONE PARAMETERS 



Synthesizer Sound Generator 



PCM Sound Generator 




©P-ENV 
for pitch 

controlling 



>LFO-1 



<0>LFO-2 



iLFO-3 



r~" 



TVA 




©PCM 
Wave Number 



— t 



©Level 



(§)TVA 
ENV 



OUTLINE OF TONE PARAMETERS 



a. WG (Wave Generator) 



b. TVF (Time Variant Filter) 



In the WG (Wave Generator), the pitch and waveform are controlled. 



(!) Pitch 
The basic pitch of a Partial (sound generator) can be set here. 
The pitch is a Common parameter, and is therefore controlled by 
© P-ENV and ® LFO-1. 

©Waveform (PCM Wave Number) 
This selects the waveform of the sound source. When a synthesizer 
sound generator is selected, the waveform can be controlled by the 
© Pulse Width controls. 

©Pulse Width 
This changes the waveform of the sound source. The pulse width 
is controlled by any LFO (= Common parameter). 



This filter passes lower frequency harmonics and cuts off the higher 
ones. By changing the cutoff point and the resonance, the waveform 
changes. 

(D Cutoff Frequency 

This sets the cutoff point. The cutoff point can be controlled by 
(DTVF ENV and any LFO (= Common parameter). 

©Resonance 

This emphasizes the cutoff point, making more unusual or electronic 
sounds. 



c. TVA (Time Variant Amplifier) 

This controls the volume of the Partial. 



) Level 

This determines the volume of the sound. When a synthesizer 
sound generator is used, the level can be controlled with the (§) 
TVA ENV and any' LFO (Common parameter). When a PCM sound 
generator is used, the ©TVA ENV controls the level. 



OUTLINE OF TONE PARAMETERS 



d. ENV (Envelope Generator) 



This generators a control signal (envelope curve) which controls the 
pitch, timbre and volume of each Partial (sound generator). 

©P-ENV 
This is the ENV which controls pitch. It can be set for two 

selected Partial at once. 

©TVF ENV 
This ENV controls the cutoff point, and can be set for each Partial 
separately. 

®TVA ENV 
This ENV controls the volume level This can be set for each 
Partial separately. 



e. LFO (Low Frequency Oscillator) 



This oscillator generates low frequencies only. 

Any of the three LFO's can be used for the two Partials, Vibrato, 

PWM growl or tremolo effects can be obtained using these LFO's. 

#A different LFO can be used for each section or a PARTIAL. 

®LFO~1 
This can control (D Pitch, (D Pulse Width, ©Cutoff Frequency 
or ©Level. 

<0>LFO-2 
This can control ©Pulse Width, ©Cutoff Frequency or ©Level. 

©LFO-3 
This can control ©Pulse Width, ©Cutoff Frequency or ©Level. 



EDITING 



21 EDITING 



The D-50 features various parameters which can be edited, thereby 
synthesizing new sounds. However, it does not feature knobs or 
switches on its front panel. Instead, there are two methods of 
editing : one is achieved by calling each parameter with the relevant 
buttons, and changing the value with the Joystick, or Increment and 
Decrement Buttons, the other is by using the optional programmer 
PG-1000, which has a!! the necessary pane! controls. 

For quicker and easier editing or synthesizing from scratch, the PG 
-1000 may be essential. 

*The editing procedure does not automatically rewrite the existing 
program, the appropriate writing procedure, on page 18 must be taken. 



1. CALLING A PARAMETER 



A number of Patch Factors and Tone Parameters are shown in a 
Menu Display at the same time. There are several Menu Displays as 

shown below. Each parameter shown in a Menu Display contains 



Play Mode Display 



Tone Menu Display 
(Lower) 



Tone Menu Display 
(Upper) 































( Common "^ 
w Menu Display J 


Partial 1's ^ 
^ Menu Display 


C Partial 2's "| 
^ Menu Display 


\ 


' ' 


1 ' 


' 


1 


' ' 


' 1 


' 


' 


' ' 


' ' 


' 



Patch Menu Display 



Common 
Menu Display J 



Partial 1's 
Menu Display 



Partial 2's 
Menu Display 



several more parameters. 

You can select any parameter you want by using the corresponding 
Selector Button or Scroll Button. 




Left Scroll Button Selector Buttons Right Scroll Button Exit Button Shift Key 



EDITING 



The following explains how each button works. The Menu Display 
and parameter which each button leads to are shown in the supplied 
Edit Map. Please thoroughly study the map. 

# Selector Buttons 

These can be used to select one of the parameters shown in the 
Display. Simply push the relevant Selector Button, and its current 
value will flash in the Display. 

♦ Scroll Buttons 

These buttons can be used to scroll through more parameters in 

the same menu group. 

Pushing the far- right Scroll Button calls the next parameter 

group, and the left Scroll Button returns to the previous parameter 
group. 

• Exit Button 

This button can be used to leave the parameter currently called 
and go back to its Menu Display. To go back to the Play Mode 
Display, hold down the Shift Key while pressing the Exit Button. 



[CHANGING PARTIAL DISPLAYS] 

While editing a parameter of one Partial, you can call the Display 

of the same parameter for a different Partial. 

The Patch Buttons 1 to 4 can select Partials as shown below. 




> 



13, 



■TO. ill. SS 






r~~i 



i — i r~ ~i 



j nnD czzi 



c. — iir mr— i 




3IZZ !□!!=]□£ 



nczicziczDn 



Upper's Partial 2 
Upper's Partial 1 
Lower's Partial 2 
Lower's Partial 1 



10 



EDITING 



2. CHANGING VALUES 



Normally, the Joystick is used to change the value drastically, and 
the Increment and the Decrement Buttons for fine adjustment. 




® 




To set value: 

• Moving the Joystick to the right in 
creases a number. 

• Moving the Joystick to the left decreses 
a number. 



Tsss 

y 



cKS, 3& 



To set value: 
INCREMENT • Poshing the Increment Button increases a 
I I number. 



DECREMENT •Pushing the Decrement Button decreases 
1 I a number. 



■SSf* 



r— 1 



I 1 

czz: 



31 3 



31 II ] 



r— ni — ii 



CZDCZ3 CZDCZIIZZICniZZIlZZlCZZlCZI 



: czn cm cm cm cm c 



a. Local Edit 



The following are rather special ways of changing values. 



This function allows you to change the values of two adjacent 
parameters at the same time with the Joystick. This can be 
effectively used for simultaneously changing two values which affect 
one another. 



[e.g.] 



Tone Detune (Fine Tuning of the Upper and the Lower Tones) 




♦.rim** <**■> 

Cmcm 



|I-lt «♦♦♦♦•♦•*»♦»»««♦♦» lone 



........ lone Tun 

52_ 



<«& £& Kti .JSfc, •Bf 



Cmcmcmcm 



Step5 
Step4 -Step3 Stepl 



Step2 



,&&» 



t n r — iizz 

I II 1EZZ 



ICmcmcm (CCJCmcmcmcmCmCmi: 



11 



EDITING 



Step 1 Push the far- left Scroll Button (TONE DETUNE) to change to the 

Display you want. 

Step 2 Assign the left parameter (Lower Tone) of the two adjacent 

parameters with the corresponding Scroll Button. 

Step 3 Push the LOCAL Button. (The indicator lights up.) 

Step 4 With the Joystick, change the value. 

Upper pitch raises, 



Lower pitch is lowered 




Lower pitch raises. 



Right and Left : The value of the selected parameter changes. 
Forward and Backward : The value of the adjacent parameter changes, 



Upper pitch is lowered 



When the Joystick is returned to the center position, the value 
returns to the original value. The variable range is narrow so that 
the value can be subtly adjusted. 

#When there is no parameter to the right of the parameter assigned 
with the Selector Button in step 2, only the assigned parameter is 
edited. 

Step 5 To return the Joystick to its narmal function, push the VALUE 

Button. 



12 



b. Ten Key Pad 



EDITING 



[e.g.] 



The Ten Key Pad is mainly used for editing the names of Patches 
or Tones, but also can set the values of some parameters (factors). 
The parameters which can be edited with the Ten Key Pad are 
shown in "Tone Parameters" on page 22. 

Changing the volume balance of two Tones from 50 to 25. 




D"* 



r~i° 



>■ 



i-ii „♦..♦.♦♦,.,♦■.■*-."'.- — ur 



..SKfc. 



Step2 



«"?», a& m vga* *-.«* 



•HS- 



czirzz] czdi 



mi — ii=h 



CZ1CIZIIZZICZ3 CZICZIIZZlCZlCZlCZlCZlf: 



Stepl 



Step3 



Step 1 Using the Selector Button, select "Volume Balance". 

Step 2 With the Ten Key Pad, select 25. 

Step 3 Hit the Enter Key. 

*lf you fail to push the Enter Key, the value you have set will be 
erased, 

*lf you choose an incorrect value, the Display will respond as 
shown below for a few seconds. 



Input Data Error- 
Cancel . . . 



13 



EDITING 



3. USEFUL FUNCTIONS FOR EDITING 



a. Compare 



Step 1 



While editing a parameter, you may wish to hear the original sound 
before it was edited. The D-50's Compare function allows you to 
call the original Patch without erasing the edited sound. 

Push the Compare Button once. 

COMPARE 

The Display responds as shown below, and the original sound may. 
be heard by playing the keyboard. 



;*:* #*#:+:** *•"*::+:* CqFJPSP© *#*#**#####*# 



b. Undo 



Step 2 Push the Compare Button again, and the edited sound will come 

back. 

In this Compare mode, the edited sound is temporarily saved, and 
therefore remains even after calling a different Patch.(This does not 
apply when the D— 50 is turned off.) Hold the Compare Button 
down while pushing the Shift Key, and the edited sound will be 
recalled. 

*When the Display shows the Compare mode indication, editing cannot 
be achieved. 



The Undo function returns the current value of the parameter to 
the original value before being edited. This only refers to the last 
parameter that has been adjusted. 



Simply push the Undo Button. 



UNDO 

CT3 



c. Copy 



The Copy function can copy the parameters of a Tone or Block to 
a different location. 

# Tone Copy 
A Tone from another Patch can be copied to the Patch currently 
selected. 



14 



EDITING 



Step 1 By pushing the appropriate Selector Button, call the Tone Copy 

Display. (With the aid of the Edit Map, take the following 
procedure.) 

To copy to the Upper Tone, call the Upper Tone Menu Display, then 
push the far— right Selector Button. 

To copy to the Lower Tone, call the Lower Tone Menu Display, then 
push the far— right Selector Button. 



The location where the source 
Tone is copied to. 



-^"tJ.7. J.J. . JUL? . . .$ iSl*. * * .* * : i : . : t : . : i : . J Tone Copy 

Copy ... fTon ^1 — J.l. ... JJ.: . . i* c .*j* c Jlvtvi c .* *.**. 



Source Tone 




Step 2 






While actually playing the keyboard, select the Tone to be copied 
(Source Tone), and it will be copied to the Tone of the currently 
selected Patch. 

Select either the Upper or the Lower Tone. {Holding 
the button down will change Patch numbers at the 
same time.) 



v«« 



%<r 



ii — ir r~ i 



czi czi tzzi nzj nz\ izzjczii 



iczi 



L, 



■ Select a Patch number. 
1 — To select a Patch on the Memory Card, push the Card Button. 
■To select a Patch in the internal memory, push the Internal Button. 

At this stage changing the Display will show the Tone Name just 
copied. 

• Block Copy 

A group of Tone Parameters can be copied within a Patch. 







►«&, V «SF 



far 



cc rzzi n nz\ nz\ nn en 



Step2 



Stepl 

Exit Button 
Step2 



Step3 



rzn 



m^ 



i 1 r~ : — 1 1 



m ir^Z3 



ir m i 



y* 



I CZI LZZ! L7ZI CZl LTC LTZI 



15 



EDITING 



Step 1 Push the Copy Button. 

Step 2 Push the relevant Selector Button first, and select a source Tone, 

and the Block to be copied, then the destination Tone and its Block 
using the Joystick or Increment and Decrement Buttons as shown 
below <£)-(§). 











* Copy * Frori ... To ..." <Ent-er/Exit) 
UPPER ALL UPPER HLL 











I 

<D Select the Tone to be copied. 

LOWER : Lower Tone 
UPPER : Upper Tone 



©Select the Block to be copied. 

ALL : Alt the Parameters 

COMMON : Common Parameters 

PART- 1 : Partial t's Parameters 

PART -2; Partial 2's Parameters 



©Select the location for the source Block. 

If COMMON is selected in step @. select COMMON here, and if 
PART-1 or PART -2 is selected, select the corresponding Slock. 

©Select the location for the source Tone. 

LOWER: Lower Tone 
UPPER: Upper Tone 

_®lf either PART-1 or PART- 2 is selected in step 
any of the following Blocks can be selected. 



ALL: 


All the Parameters 


WG: 


WG Parameters 


TVF: 


TVF Parameters 


TVA: 


TVA Parameters 



To cancel the copying mode, simply push the Exit Button. 

Step 3 Hit the Enter Key. 

When the copy is completed, the Display responds as shown below, 
then returns to the Play Mode indication. 



CottF-lete . 



*lf you try to copy a Common parameter to a Partial parameter or vice 
versa, the Display will show the following error message and the 
copying cannot be done. 



Data Mis-Match 

Cancel ... 



16 



d. Partial Mute 



EDITING 




While editing a Partial parameter, any Partial sound can be muted. 
This function can be done in any Partial Display. 

Simply push the Patch Button (1 to 4) that corresponds to the 

Partial to be muted. 



JS52 



«p. aa <3s *zaa i w u ;k* %f 
c=p czd □ tm czz3 czzi q=i 



,&s„ 



CZZ2C 



31 



HC 



DCZICZIlZDCZD 



— Upper's Partial 2 
- Upper's Partial 1 
1 — Lower's Partial 2 
Lower's Partial 1 



The mute status of all Partials is shown in any Partial Display. 



1111 



t Upper Partial 2 

Upper Partial 1 

Lower Partial 2 

Lower Partial 1 



: Mute ON 

1 : Mute OFF 



I -11 U: Sir 91 EJUiXi Fart-i WG Pitch 

CorsC#3 Fine+58 KF 1 



e. Partial Balance 



*The Partial Mute setting will be automatically written into memory by 
taking the Writing Procedure on page 48. 



The Partial Balance function can be obtained in any Edit Display 
or Play Mode Display. (Except for the Edit Display of the Patch 
Name and Tone Name.) 



Step 1 



Select either of the Tones with the Partial Balance Button. 



Upper Tone 

UPPER 

I 1 =-, 

PARTIAL 

LOWER (BALANCE 



J' 



Lower Tone 



17 



EDITING 



Step 2 



With the Joystick, set the volume balance you like. 



Upper volume increases and the 
lower volume decreases. 



Partial 1 Volume increases and 
Partial 2 volume decreases. 




Partial 1 volume decreases and 
Partial 2 volume increases. 



Upper volume decreases and 

Lower volume increases. 



Step 3 To return to the usual editing condition, select another parameter 

or change the Display. 



18 



4. SOUND CREATION 



EDITING 



There arc two methods of sound creation. 

(1) Editing an existing sound. 

(2) Initializing all the parameters of a certain Partial and then 
editing the Partial. 



Step 1 



How to initialize a Partial : 

Call the Menu Display of the Partial to be initialized, then assign 
"* Init *" with the Selector Button. 











I-li U: StrOl 1111 Part-1 Menu 

< Pitch? <For«> <TUF> <0M> * Init * 











] czn [ 



nzD [ 



en: 



I— 11 Ls ********** 

fire you sure ? 



Part-1 * Init * 

<Enter/Exit> 



Step 2 Push the Enter Key, and all the parameters of the selected Partial 

will be initialized, the Display will show as below for a few seconds. 



7 stu a 


VWX 9 


Y2- 


1 I 1 


I I 

MNO 6 


I 


4 JKL 5 


PQR 


1 f 1 


II 

OEF 3 


| 


1 ABC 2 


GHI 


I I I 


M 


I 


Sf*T 


SPACE ENTER 


I II 


1 1 r 





Complete . 



19 



EDITING 



5. NAMING 



Step 1 



Editing Patch or Tone names is called Naming in this manual. 
#A Patch name .can have up to 18 letters. 
#A Tone name can have up to 10 letters. 
Call the Naming Display. 



Play Mode Display 



Lower Tone Menu ' 



Upper Tone Menu 



□ a a □ t=n 



t=J EZJ EZI C=3 CZJ C3C3t=3t=3t=3C=l 

Lower Naming Upper Naming 



Patch Naming 



Patch Menu 



C3 a C3 C3 



Step 2 Push the appropriate Selector Button to move to the letter you 

wish to change, and the letter flashes. 



Source Name 



I — 11 r4:*+":+:*W*++W*+*4:*"*"*:W Patch Har-ie Edit 

[<3 c>3 => ■#?**######********* 



Flashing 



New Name 



Pushing this button moves the flashing segment rightward. 
Pushing this button moves the flashing segment leftward. 



Step 3 



Change the letters by either of the following methods. 



20 



[Using the Joystick/Increment Button, Decrement Button] 



EDITING 



Available Letters 


SPACE 
I 

-ABC- 


— XVZabc xyzl23" 


Hyohen 
4 
••890- 


Joystick 


















@ 










Increment Button 
Decrement Button 






\KKU€N~ 







1 1 


oecreuEur 


1 I 







[Using the Ten Key Pad] 



7 STU 


8 


vwx 


9 


VZ- 


1 \ 


| 


1 


| 


I 


4 JKl 


5 


MNO 


6 


por 


1 II III 


1 ABC 


2 


OEF 


3 


GHI 


1 II II 1 


&*T 



1 


SR4CE 
1 


£NT€fl 


1 1 


I 


1 



t 

Shift Key 



• Assigning a number 

Push the key that is marked with the number you want once. 

• Assigning a capital letter 

Push the key that includes the letter you want several times, until 
the correct letter appears. 

• Assigning a small letter 

While holding the Shift Key down, push the the key that includes 
the letter you want, (as for capital letters.) 

• Space/Hyphen 

Push the key twice for a space. 

Push the 9 key four times for a hyphen. 



Step 4 



Repeat Steps 2 and 3 as many times as necessary. 



21 



TONE PARAMETERS 



31 TONE PARAMETERS 



This section describes ail about the Tone Parameters. 

Each Display is numbered as shown in the Edit Map. 

#The parameters which can be set with the Ten Key Pad have the 10 
key marks as shown below. 

n 



1. COMMON PARAMETERS 



a. Structure 



[Display 16] 











I-il L): ********** Structure 

Str ©I 











czd c=i czd c 



Structure 



• Structure Number |{i|^ 
Select one of the following seven Structures. 



S (Synthesizer Sound Generator) 
P (PCM Sound Generator) 
|l] (Ring Modulator) 



Structure 
Number 


Partial 
1 


Partial 
2 


Combination of two Partials 


Block Diagram 


1 


S 


S 


Mixture of Partial 1 and Partial 2. 


S 1 




2 


S 


S 


Mixture of Partial 1 and ring- 
modulation. 


:>a j 


3 


P ' 


S 


Mixture of Partial 1 and Partial 2. 




g 




4 


P 


s 


Mixture of Partial 1 and ring- 
modulation. 


D* 


5 


S 


p 


Mixture of Partial 1 and ring- 
modulation. 


;>* 


6 


p 


p 


Mixture of Partial 1 and Partial 2. 








7 


p 


p 


Mixture of Partial 1 and ring — 

modulation. 


:>^ 



22 



TONE PARAMETERS 



b. P-ENV 



[Display 17] 




















I— 11 U: 

Uelo 81 


•t" *T' ■+• *T~ -T* -T : : T : -T* 'T' *t* 

TKF ©4 


P-EHU Edit 















r i 



Velocity Range Key Follow (Time) 



> Velocity Range |Jj] 
This sets the maximum effect of the velocity that controls the 
pitch of the P-ENV. to 2 are valid. At higher values, the 
keybord velocity has a greater, effect on the envelope.. 



• Key Follow (Time) |J»] 
This sets the time of the P— ENV depending on the key played 
to 4 are valid. Higher values change the time more drastically. 



IIIIWIIIiniillfllflHIIIIIHI 




[Display 183 
















I-ll U: 
Tl 5© 


********** p— EHU Edit 
T2 50 T3 50 T4 24 













T T'T T 

Time 1 Time 2 Time 3 Time 4 

[Display 19] 



I— 11 Us ********** P-ENV Edit 

LO+50 LI -25 L2 08 SusL+59 EndL-5© 



t T T T 1 



LZZ1 [ 



Level Level l . Level 2 



Sustain 

Level 



End 
Level 



The envelope curve is determined by times and levels. 



23 



TONE PARAMETERS 



Pitch 



Point 1 



Point 3 




Sus L 




^ Time 



(Key Off) 



*This is based on the pitch set- with WG 
Pitch Coarse and Fine for each Partial. 



► Time 1 H*l 

This sets the time needed from point (the moment the key is 

pressed) to point 1. to 50 are valid. 



► Level 

This sets the pitch created the moment a key is pressed from -50 
to +50. 



► Time 2 jjjj 
This sets the time needed from point 1 to point 2. to 50 are 

valid. 



► Level 1 

This sets the pitch of the point 1 from -50 to +50. 



► Time 3 |[y 

This sets the time needed from point 2 to point 3. to 50 are 

valid. 



► Level 2 

This sets the pitch of the point 2 from -50 to +50. 

► Sustain Level 

This sets the pitch of point 3 from -50 to +50. 



► Time 4 jg] 

This sets the time needed from the moment the key is released 
to point 4. to 50 are valid. 



► End Level 
This sets the pitch of point 4 from —50 to +50. 



24 



TONE PARAMETERS 



c. Pitch Modulation 



*lf the Levels of two adjacent points are set to simitar values, the 
time between these two points may prove to be shorter than what 
is actually set, or even zero. 



Velocity Range 


Level 


Range 





+ 50 


+ 1 octave 


-50 


- 1 octave 


1 


+ 50 


+ 1.5 octave 


-50 


-1.5 octave 


2 


+ 50 


+ 2 octave 


-50 


-2 octave 



[Display 20] 











I — 1 1 IJ: ********** Pitch Hod Edit, 
LFOD10Q Levr-168 flftr-108 











LPO Depth 



EZZ1 [ 



r i 



Pitch Aftertouch Modulation 
Pitch Lever Modulation 



* Depending on how the LFO in WG modulation (Display 27) is set, the 
vibrato set here may have no effect at all. Higher values deepen . the 
effect. 



>LFO Depth |fj] 

This sets the depth of LFO-1, that controls the WG pitch. to 

100 are valid. 



> Pitch Lever Modulation JJJ] 

This sets the sensitivity of the vibrato depth controlled by the 

bender lever from to 100. Higher values deepen the effect. 



> Pitch Aftertouch Modulation 

This sets the sensitivity of the vibrato depth controlled by 

aftertouch from to 100. Higher values deepen the vibrato effect. 



25 



TONE PARAMETERS 



d. LFO 



[Display 21-23] 











I-ii U: ********** LFO-1 Edit. 
W-aveTRI Rate ©0 Dely 0© SwnoKEV 











r t t i 



Wavefrom 



Rate Delay Time Sync 



*The parameters of LFO— 2 (Display 22) and LFO -3 (Display 23) can 
be set like LFO— 1, except for a few parameters. 

# Waveform 
This selects the waveform of the LFO. 



Display 


Waveform 


TRI (Triangle) 


VW 


SAW (Sawtooth) 


\W\J 


SQU (Sauare) 


^n_ru 


RND (Random) 


Waveform changes randomly. 



• Rate |Jfl 

This sets the rate (frequency) of the LFO from to 100. Higher 
values quicken the rate. 



• Delay Time |[*J 
This sets the time needed for the LFO to appear, from the moment 
a key is pressed. to 100 are valid. Higher values increase the 
delay time. 



>Sync 

This selects the timing of the LFO oscillation as follows. 



Display 


Description 


OFF 


LFO does not sync to the keyboard. 


ON 


When a key is played after all keys have been released, the 
LFO begins its wave generating process form the beginning. 


KEY 


LFO begins its wave generation form the beginning 
each time a new key is played. 



*For LFO-2 and LFO-3, "KEVcannot be selected. 



26 



TONE PARAMETERS 



e. Equalizer 



[Display 24) 











I -11 Us ********** EQ Edit- 
Lf 63 L.9 -12 Hf 9.5 HQ 6.2 H-3 -12 











r. T T T 1 

Lf La Hf HQ Ha 



In the equalizer section, the frequency characteristic of the sound 
can be modified. 



The Equalizer consists of the following parameters. 
Lf Hf 

HQ 



Level 




Frequency 



This sets the frequency where the gain is altered in the low to 
middle range. 63Hz to 840Hz (16 points) are valid. 

>Lg 

This sets the gain of the lower Frequencies in ldB steps, from 
— 12 to +12dB (25 points). "+" settings raise the gain, and "-" 
settings lower it. 



+ ^ 



Level 




+ n 



Level 



Frequency 




Frequency 



27 



TONE PARAMETERS 



>Hf 

This sets the frequency where the gain is altered in the middle 
to high range, from 250Hss to 9.5kHz (22 points). 

>HQ 

This sets the width of the frequency band where the gain is 
boosted or cut from 0.3 to 6.0 (9 points). With a higher value, 
the frequency band is narrower, and vice versa. 



+ -i 



Level 




+ A 



Level 



Frequency 



HQ is Hight 




HQ is low 



Frequency 



► Hg 

This sets the gain of the Hf frequency from -12 to +12dB (in 
IdB step, 25 points). "+" settings raise the gain and "— " settings 
lower it. 



+ ., 



Level 




+ A 



Level 



Frequency 




Frequency 



28 



f. Chorus 



TONE PARAMETERS 



[Display 25] 











I — 1 1 U: ********** Chorus- Edit 
Type 61 Rate 58 Dpth 59 Bal 56 











?TTT C 

Chorus Tyoe Chorus Rate Chorus Depth Chorus Balance 



► Chorus Type 

This selects one of the 8 basic chorus effects. 



1 


Chorus 1 


2 


Chorus 2 


3 


Flanger 1 


4 


Flanger 2 


5 


Feedback Chorus 


6 


Tremolo 


7 


Chorus Toremolo 


8 


Dimension 



> Chorus Rate |JjJ 

This sets the rate of the chorus effect, from to 100. Higher 

values quicken the rate. 



► Chorus Depth |J*] 
This sets the depth of the chorus effect, from to 100. Higher 
values deepen the effect. 



► Chorus Balance m 

This sets the volume balance of the chorus sound and normal 

sound, from to 100. 



100 Only the chorus sound is heard. 

I 
50 Chorus sound = Normal sound 

} 

Only the normal sound is heard. 



29 



TONE PARAMETERS 



2. PARTIAL PARAMETERS 



[Restriction of the available parameters caused by Structure] 

Depending on what Structure is used, the available parameters may 
be different. So, first check the Structure number shown in the 
Partial Display, then set the parameters. 

Structure Number 



1-11 U: StHSl] 1111 
CorsC#3 Fine+59 KF 1 



Part-l LOG Pitch 



(1) In some Structures, some parameters included in a Partial that 
uses a PCM sound generator are invalid. The following mark 
is shown when the parameters apply even for PCM sounds. 

(2) In some Structures which use Ring Modulation, some parameters 
in Partial 2 will automatically become the same as for Partial 
1. Therefore, the values shown in the Display are irrelevant with 
the actual values. The following mark is shown for such 
parameters. 



EBBS 



a. WG Pitch 



[Display 26] 











1-1 1 U: StrSl 1111 Part-l WG Pitch 
Cor£-C#3 Fine+50 KF si 











IZZ1 c 



r t i 



Pitch coarse Pitch Pine Key Follow (Pitch) 

• Pitch Coarse JJJ3 

This sets the standard pitch of a Partial in semi— tone steps from 

CI to C7. 

*The standard pitch is the pitch at C4 (middle C) key. 

• Pitch Fine H^TH 

The standard pitch can be altered over about ±50cents from -50 
to +50. 



30 



TONE PARAMETERS 



• Key Follow (Pitch) IMfll 
Usually, llic keyboard of a synthesizer assigns a semi- lone to 
each key. This parameter can change the pitch ratio as shown 
below. 

The value represents how many octaves arc changed over 12 keys. 



3/2 5/4 §2 



3 - 



2-- 



Pitch 
(Octave) 



0-- 



-1 - 




s1 

1 (Standerd) 



(Octave) 



IllWilllill 



r 

Middle C (C4) 



*s1 or s2 may be selected for slightly stretching octaves. 
s1 : Pitch 1 cent higher than one octave. 
s2 : Pitch 5 cents higher than one octave. 



31 



TONE PARAMETERS 



b. WG Modulation 



[Display 27] 











I -11 U: SU-01 ill! Par-t.-i I,JG Mod 
LFO ft&L EHM <-> BendNOM 











r t i 



LFO Mode P-ENV Mode Pitch Bender Mode 



► LFO Mode |2£fij 

This selects one of the following four vibrato modes. 



Display 


Description 


OFF 


No vibrato is obtained. 


( + ) 


Vibrato is on. 


(-) 


Vibrato is on but inverted. 


A&L 


Vibrato can be obtained only by 
Aftertouch and Bender Lever. 




Normal 





"— " is selected 



• P-ENV Mode ri5?1 
This selects one of the following three modes, determining how the 
pitch is controlled by P-ENV. 



Display 


Description 


OFF 


No alteration. 


( + ) 


Pitch changes with the set P-ENV 
curve. 


(-) 


Pitch changes with the P-ENV 
curve inverted. 




"+" is selected 



"-" is selected 



32 



TONE PARAMETERS 



• Bender Mode ESJ3 

This selects how the pitch is controlled by the bender lever as 
follows. 



Diaplay 


Description 


OFF 


No pitch alteration by moving the 
Lever right or the left. 


KEY 


Pitch changes within the Bender 
range, set in Patch Factors, plus 
Key Follow (Pitch) of W6. (See the 
example shown right.) 


NOM 


Pitch changes within the Bender 
range, set in Patch Factors. 



[Example] 
if the Bender renge is set to 12 (1 octave), 
and the Key Follow (Pitch) of WG is set 
to 2, the maximum pitch change caused by 
moving the Bender lever is 2 octaves. When 
the Key Follow (Pitch) .of WG is set to 
zero, there is no pitch change caused by the 
Bender lever. 



c. WG Waveform 



[Display 28] 



I- 11 U: StrQl 1111 Part-1 WG Forn 
WaveSflW PCM 91 J ****** 



PCM Name 



r i 



L3Z1 C 



Waveform 



PCM Wave Number 



> Waveform 

This selects the waveform of the synthesizer sound generator. 



Display 


Waveform 


SQU (Square) 


rLTLTU 


SAW (Sawtooth) 


NNJ^ 



*A sawtooth waveform is produced by processing a square waveform 
at the TVF, that is, all the waveforms are square at WG even when 
a sawtooth is selected. 

#PCM Wave Number ISMflll IEFIEM 

This selects one of the 100 different sampled waves of the PCM 
sound generator. Each sample is named (PCM name) as shown on 
the next page : 



33 



TONE PARAMETERS 



>1~47 (One -Shot sounds are programmed.) 

1 48'-' 76 (Looped sounds are programmed.) 

'77—100 (Some of the sounds 1 to 76, are combined and looped.) 



Number 


Display 


PCM Name 


Number 


Display 


PCM Name 


1 


Marmba 


Marimba 


51 


EP Ipl 


Electric Piano (Loop 1) . 


2 


Vibes 


Vibraphone 


52 


EP_lp2 


Electric Piano (Loop 2) 


3 


Xylol 


Xylophone 1 


53 


CLAVlp 


Clavi (Loop) 


4 


Xylo2 


Xylophone 2 


54 


HC_!p 


Harpsichord (Loop) 


5 


Log_Bs 


Log Bass 


55 


EB Ipl 


Electric Bass (Loop 1) 


6 


Hammer 


Hammer 


56 


AB_(p 


Acoustic Bass (Loop) 


7 


JpnDrm 


Japanese Drum 


57 


EB_lp2 


Electric Bass (Loop 2) 


8 


Kalmba 


Kalimba 


58 


EB_1p3 


Electric Bass (Loop 3) 


9 


Pluck! 


Pluck 1 


59 


EG_Jp 


Electric Guitar (Loop) 


10 


Chink 


Chink 


60 


CELLIp 


Cello (Loop) 


St 


Agogo 


Agogo 


61 


VIOLIp 


Violine (Loop) 


12 


3angle 


Triangle 


62 


Reedlp 


Leed (Loop) 


13 


Sells 


Bell's 


63 


SAXlpI 


Sax (Loop 1) 


14 


Nails 


Nail File 


64 


SAXlp2 


Sax (Loop 2) 


15 


Pick 


Pick 


65 


Aah_Ip 


Aah (Loop) 


16 


Lpiano 


Low Piano 


66 


Ooh Ip 


Ooh (Loop) 


17 


Mpiano 


Mid Piano 


67 


Manlpl 


Male (Loop 1) 


18 


Hpiano 


High Piano 


68 


Spectl 


Spectrum 1 (Loop) 


19 


Harpsi 


Harpsichord 


69 


Spect2 


Spectrum 2 (Loop) 


20 


Harp 


Harp 


70 


Spect3 


Spectrum 3 (Loop) 


21 


OrgPre 


Organ Percussion 


71 


Spect4 


Spectrum 4 (Loop) 


22 


Steel 


Steel Strings 


72 


Spect5 


Spectrum 5 (Loop) 


23 


Nylon 


Nylon Strings 


73 


Spect6 


Spectrum 6 (Loop) 


24 


Eguitt 


Electric Guiter 1 


74 


Spect? 


Spectrum 7 (Loop) 


25 


Eguit2 


Electric Guitar 2 


75 


Manlp2 


Male (Loop 2) 


26 


Dirt 


Dirty Guitar 


76 


Noise 


Noise (Loop) 


27 


P_Bass 


Pick Bass 


77 • 


LoopOl 




28 


Pop 


Pop Bass 


78 ' 


Loop02 




29 


Thump 


Thump 


79 


Loop03 




30 


Uprite 


Upright 8ass 


80 


Loop04 




31 


Clarnt 


Clarinet 


81 


Loop05 




32 


Breath 


Breath 


82 


Loop06 




33 


Steam 


Steamer 


83 


Loop07 




34 


FiuteH 


High Flute 


84 


Loop08 




35 


FluteL 


Low Flute 


85 


Loop09 




36 


Guiro 


Guiro 


86 


LoopIO 




37 


IndFIt 


Indian Flute 


87 


Loop 1 1 




38 


Harmo 


Flute Harmonics 


88 


Loop12 




39 


Lipst 


Lips 1 


89 


Loop I 3 




40 


Lips2 


Lips 2 


90 


Loop 14 




41 


Trumpt 


Trumpet 


91 


Loop 15 




42 


8ones 


Trombones 


92 


Loop 16 




43 


Contra 


Contrabass 


93 


Loop17 




44 


Cello 


Cello 


94 


Loop 18 




45 


VtoBow 


Violin Bow 


95 


Loop 19 




46 


Vrolrts 


Violins 


96 


Loop20 




47 


Pizz 


Pizzicart 


97 


Loop21 




48 


Drawbr 


Draw bars (Loop) 


98 


Loop22 




49 


Horgan 


High Organ (Loop) 


99 


Loop23 




50 


Lorgan 


Low Organ (Loop) 


100 


Loop24 





34 



TONE PARAMETERS 



d. WG Pulse Width 



[Display 29] 











1-11 U: StrSl 1111 Part-1 WG PW 
PW10Q Melo+07 flftr+97 LFO -3 LFODIS© 











Pulse Width 



Aftertoueh Range 



LFO Depth 



Velocity Range 



LFO Select 



•Pulse Width HJJ 
A square waveform has exactly the same width, up and down but 
a Pulse Width waveform has different widths. The ratio of upper 
width to lower is called pulse width. to 100 are valid for setting 
the pulse width. Depending on the set pulse width value, the 
harmonic content of the sound changes greatly. 



10O 



Set value 

50 



97% 



50% 



*When a sawtooth is selected with WG Waveform, pulse width 50% 
raises the pitch by an octave. 

• Velocity Range 
This sets the senitivity of the velocity that controls the pulse 
width from -7 to +7. With "-" values, the pulse width becomes 
smaller by playing the keyboard harder, and with " + " values, the 
pulse width becomes wider by playing the keyboard harder. 



35 



TONE PARAMETERS 



> Aftertouch Range y^9[^] 

This sets the sensitivity of the aftertouch that controls the pulse 
width from -7 to +7, With "-" values, the pulse width becomes 
smaller with stronger aftertouch, and with "+* values, the pulse 
width becomes wider with stronger aftertouch. 

>LFO Select OBl f^l 

Pulse Width Modulation (PWM) means changing the pulse width 
periodically. LFO Select decides which of the LFO's is to be used 
for modulating the pulse width. 



e. TVF 



Display 


LFO (Phase) 


+ 1 


LFO-1 (+) 


-1 


LFO-1 (-) 


+2 


LFO-2 (+) 


-2 


LFO-2 <-) 


+ 3 


LFO-3 (+) 


-3 


LFO-3 (-) 




Positive Phase 



Neoative Phase 



Ring 0110 key 



UFO Depth 

This sets the depth of the PWM from to 100. Higher values 
deepen the effect. 



[Display 30] 



1-11 U: StrQl till Pari-1 TUF 
Frg^iggi Rec, 15 KF 1/4 BP >C#3 Bivl+Q? 



J [ 



Cutoff Frequency 



1 czu 



" T 1 



an 



Bias rung* Bias level 



Follow K * v Follow Adjustment 
(Cutoff Point) 



Resonance 



36 



TONE PARAMETERS 



Cutoff Frequency |{*J 
This sets the cutoff point of the TVF from to 100. As you 
lower the value, higher frequencies are removed and the waveform 
gradually become an approximation of a sine wave, then the sound 
will finally fade out. 



100 



Level 



Set Value 



Frequency \ 

N U_Ln 



Cutoff Point Frequency t 



Level 



Level 



K ^^ 



Cutoff Point Frequency t 




Cutoff Point Frequency 



► Resonance ff*] 

This boosts the cutoff point from to 30. As you increase the 
value, specific harmonics are emphasized and the sound will 
become more unusual, more electronic in nature. 



30 



Set Value 



Level 



Level 



Level 




Frequency J 

4 \a^ 



Frequency 



1\ U\A 



Level 



Frequency J 



Frequency 



37 



TONE PARAMETERS 



• Key Follow (Cutoff Point) 
Key Follow can change the culoff point depending on the key 

played. 

Just like the Key follow of WG pilch, the value represents how 
many octaves change over 12 keys. 



3-- 



2-- 



Pitch 
(Octave) 



-1 -- 



3/2 



1 -- - 



0-- 



5/4 




1 (Standerd) 



(Octave) 



lllllfflllll 



r 

Middle C (C4) 



38 



TONE PARAMETERS 



[Key Follow Adjustment] 



You can add a further change ( = bias level) to the Key Follow 
curve, and set the range (bias range) where the bias level is valid. 

•The bias range is where the bias level is valid on the keyboard. 
It can be set with the bias point (where the bias range begings) 
and bias direction (< or >) from <A1 to <C7 and from >A1 
to >C7 in semi— tone steps. 



[e.g.] 



>C4 : The bias level is only valid on the keyboard above the C4 

key. 
<C4 : The bias level is onty valid on the keyboard below the C4 

key. 



•The bias level can be set from -7 to +7. "+ w values raise the 
. curve, and "— " value lower the curve. 



[Example] 

When set to TVF Key Follow (Cutoff Point) "0' 

and Bias renga *>C4" 




Set Value 



■■■MI 



t 

C4 (Middle C) 



*The curve in the picture represents the Key Follow value with the bios 
level added. 



f. TVF ENV 



[Display 31] 











1-11 U: Str01 mi Part-1 TUF ENU 
Dpthl00 UeloiSS DKF 94 TKF 84 











nzn nzD czd uzd 

T T T T 

ENV Depth Key Follow (Depth) 

Velocity Range Key Follow (Time) 



39 



TONE PARAMETERS 



>ENV Depth ||JJ 

This sets the depth of the TVF ENV modulation that changes the 
TVF Cutoff Point. to 100 are valid. Higher values deepen the 
effect. 



► Velocity Range ||*| 

This sets the sensitivity of the velocity that controls the depth of 
the TVF ENV. to 100 are valid. At higher values, the effect 
is deeper by playing harder. 



► Key Follow (Depth) (J^ 

This can change the TVF ENV depth depending on the key 

played. to 4 are valid, higher values change the depth more 

drastically. 



► Key Follow (Time) ||2j 

This can change the time of the TVF ENV depending on the key 

played. to 4 are valid, higher values change the time more 

drastically. 



fnWIHIlllllllllllHIIHHIIIH 




40 



TONE PARAMETERS 



[Display 32] 











1-11 Us StrSl 1111 Part-1 TUF EHU 
T1199 T2100 T3106 T410© T5180 











T T T T T 

Time l Time 2 Time 3 Time 4 Time 5 



[Display 33] 











I -11 U: StrQl 1111 Part-1 TUF EMU 
LI 100 L2100 L3108 SusLlSQ EndLlQQ 











T T T T T 

Level 1 Level 2 Level 3 Sustain Level Gnd Level 



An envelope curve is determined by times and levels. 



Point 1 



Point 2 



Point 3 




Point 4 



Sus L 




T2 T3 T4 



Key On 



Key Off 



• Time 1 |yj 

This sets the time needed to reach point I from the moment the 
key is pressed. to 100 are valid. 



> Level 1 it»J 
This sets the level of point 1 from to 100. 



• Time 2 |i*J 

This sets the time needed to reach point 2 from point 1. to 
100 are valid. 



41 



TONE PARAMETERS 



(Level 2 ||y 

This sets the level of point 2 from to 100. 



► Time 3 ||>J 

This sets the time needed to reach point 3 from point 2. lo 

100 are valid. 



• Level 3 UJJ 
This sets the level of point 3 from to 100. 



► Time 4 UJJ 

This sets the time needed to reach point 4 from point 3. to 

100 are valid. 



► Sustain Level yy 

This sets the level of point 4 from to 100. 



► Time 5 U»J 
This sets the time needed to reach point 5 from the moment the 

key is released. to 100 are valid. 



#End Level 
To lower the level after releasing the key, set this to 0, and to 
raise the level, set it to 100. 

*The End Level is retained until you release and play the key again. 

*lf the Levels of two adjacent points are set to similar values, the time 
between these two points may prove to be shorter than what is 
actually set, or even 2ero. 



g. TVF Modulation 



[Display 34] 



I-Il U: StrQl 1111 

LFO -3 LFOD10© 



Part-1 TUF Mod 
Rftr~07 



T T 

LFO Select LFO Depth 



LZZ] 



Aftertouch Range 



► LFO Select EM f^] 

This selects the LFO that changes the cutoff point periodically 
(creating growl effects). 



42 



TONE PARAMETERS 



Display 


LFO (Phase) 


+ 1 


LFO-1 (+) 


-1 


LFO-1 (-) 


+ 2 


LFO-2 ( + ) 


-2 


LFO-2 (-) 


+ 3 


LFO-3 ( + ) 


-3 


LFO-3 (-) 




Positive Phase 




Negative Phase 



Ring 0110 key 



>LFO Depth 

This sets the depth of a growl effect from to 100. Higher values 
deepen the effect 



X 



> Aftertouch Range 

This sets the sensitivity of the aftertouch that controls the cutoff 
point from —7 to + 7. " — " values lower the cutoff point by 
stronger Aftertouch, and "+" values raise it. 



h. TVA 



[Display 35] 











I- 11 Us Str-01 1111 Part-i TUfl 
Levi 59 Velo-58 BP >C7 Blvl-12 











r i 



Level Velocity Range 



Bias range Bias levet 
Volume Adjustment 



# Level JSSSi EEM^S 

This sets the volume of a Partial from to 100. 

* Higher values may cause sound distortion. If so, lower the value. 

*Even when the Levet is set to zero here, the sound may not be 
completely muted if the TVA ENV curve is high. 

• Velocity Rnage Q3Q] 

This sets the sensitivity of the velocity that controls the volume 
of the sound. —50 to +50 are valid. "— " values lower the level 
by harder playing, and " + " values raise the level by harder 
playing. 



43 



TONE PARAMETERS 



[Volume Adjustment] itftjfil 



You can change the overall volume of the keyboard ( = bias level) 
from ihc set level, and set the range (bias range) where the bias 
level is valid. 



•The bias range is where the bias level is valid on the keyboard. 
It can be set with the bias point (where the bias range begins) 
and bias direction (< or >) from <A1 to <C7 and from >A1 
to >C7 in semi— tone steps. 



[e.g.] 



>C4 : The bras level is only valid on the keyboard above the C4 

key. 
<C4 : The bias level is only valid on the keyboard below the C4 

key. 



►The curve (bias level) can be set from —12 to +0. Lower values 
make the curve steeper. 



i. TVA ENV 



(Example) 

When set to <C6. 



VolumeO 




fW 



7 

C4 (MiddleC) 



C6 



[Display 36] 











I -11 !J: Sir-8l mi Pat-t-l TVO EHU 
Til tie T21Q0 T3100 T410S T5100 











T T T T T 

Time 1 , Time 2 Time 3 Time 4 Time 5 

[Display 37] 











I -H U: Str01 1111 Part-1 TUfi EHU 
LI 100 L2100 L3100 Sus-L100 EndL100 











1 LZZ1 



-j. — j 

Level 1 Level 2 Level 3 Sustain Level End Level 



44 



TONE PARAMETERS 



An envelope curve is determined by limes and levels. 



Point 1 



Point 2 



Point 3 




Point 4 



Sus L 




T2 T3 T4 



Key On 



• Time 1 EEE| ICTIBW 

This sets the time needed to reach point 1 from the moment the 
key is pressed. to 100 are valid. 

• Level 1 |g«jJJ EPMIEM 

This sets the level of point 1 from to 100. 

• Time 2 (2221 FEM?EW 

This sets the time needed to reach point 2 from point 1. to 

100 are valid. 

• Level 2 liMfll J353 

This sets the level of point 2 from to 100. 

• Time 3 G3EI J ffP^ 

This sets the time needed to reach point 3 from point 2. to 
100 are valid. 

• Level 3 QQQ ETflTfW 

This sets the level of point 3 from to 100. 

• Time 4 Ifrjfli [Q33 

This sets the time needed to reach point 4 from point 3. to 
100 are valid. 



45 



TONE PARAMETERS 



• Sustain Level jMltyl ECTfffll 

This sets the level of point 4 from to 100. 

• Time 5 |£££J FCTW 

This sets the time needed to reach point 5 from the moment the 
key is released. to 100 are valid. 

• End Level QQQJJ] 

To lower the level after releasing the key, set this to 0, and to 
raise the level, set it to 100. The End Level remains until the key 
is released and played again. That is, at a value of 100, the sound 
remains. However, the PCM Sound Generator's One-shot sounds 
do not remain even when set to 100. 

#lf the Levels of two adjacent points are set to similar values, the time 
between these two points may prove to be shorter than what is 
actually set, or even zero. 



[Display 38] 











1-11 U: Sir91 1111 Pari-1 TUB EMU 
Uelo 84 TKF 84 











] c 



T T 

Velocity Follow Key Follow 
(Time 1) (Time) 



LZZl [ 



• Velocity Follow (Time 1) liMfll il»] 

This sets the sensitivity of the velocity that controls the "Time 
1" of the TVA ENV from to 4. Increasing the sensitivity 
shortens "Time 1", by stronger playing. 

• Key Follow (Time) lSPft T f| FCTICT 

This can change the time of the TVA ENV depending on the key 
played. to 4 are valid. Higher values change the time more 
drastically. 



HIIIIHHUH11IIHIIIIHII11HTI 




46 



TONE PARAMETERS 



j. TVA Modulation 



[Display 39] 











I- 11 U: SirSl I i 1 1 Part-1 TUfl Mod 
LFO -3 LFOD109 fifir-87 











] [ 



LFO Stect LFO Depth 



czn LZZD 



Aftertouch Range 



• LFO Select Hlffil f^l 
This selects the LFO that changes the volume periodically (tremolo 
effects). 



Display 


LFO (Phase) 


+ 1 


LFO-1 (+) 


-1 


LFO-1 (-) 


+2 


LFO-2 ( + ) 


-2 


LFO-2 (-) 


+3 


LFO-3 (+) 


-3 


LFO-3 (-) 




Positive Phase 



Negative Phase 



Ring 0110 key 



> LFO Depth 

This sets the depth of the tremolo effect from to 100. Higher 
values deepen the effect. 

> After-touch Range lZiTiI*l[%| 

This sets the sensitivity of the aftertouch that controls the volume 
from -7 to +7. "-" values lower the volume by stronger 
aftertouch. and " + " values increase the volume by stronger 
aftertouch. 



47 



WRITING 



ID WRITING 



The edited data does not automatically rewrite the previous data, 
and therefore will be erased when a different Patch is selected, or 
the unit is turned off. To retain the edited data, take the following 
writing procedure, either into the internal memory or onto a 
Memory Card. 

*When using a Memory Card (RAM) for the first time, be sure to 
write the data in the internal memory onto the Memory Card as 
shown in "Patch Transfer to the Memory Card" on page 65. If you 
take the writing procedure without doing this, the Display shows 
"Illegal Card"for a few seconds and writing is not done. This "illegal 
Card message is also shown when you are using a Mmeory Card that 
contains the data other than D— 50's. 



Illegal Card 



[SELECTING A MEMORY LOCATION] 

Writing a new Patch inevitably erases an existing Patch, so you may 
wish to listen to several Patches before deciding which Patch should 
be sacrificed for the new Patch. You can do it using the Compare 
Button. • 




D«* 



Stepl 



Step3 



^■c" jftj* ,3& ' KG „KS* >7<$y "is?- 78? 
o- 1 ' I I I : I I i f 1 i 1 i 1 i 



^ r 



3C 



31 I I" 1 






************ ComF-are ************* 



IIZUC=]EZZ]LZDnCZiC=] CZ!IZZ![Z=ICZI!ZZICZ][^IZZ] 



Step2 

Step 1 Push the Compare Button. 

The Display responds as shown below. 



Step 2 As you change Patches, listen to the sound, selecting the Patch 

Number to be erased. 

Step 3 WHILE HOLDING THE SHIFT KEY DOWN, push the Compare Button. 

This recalls the edited data at the selected Patch Number. 



48 



WRITING 



[WRITING PROCEDURE] 



Step2 



Exit Button 




r~i 



IC9-I 

y 



can c=i cm C=3 CH3 



I — II 



i — imc 



-Step4 



I 1 CZDCZIIZDCZDCZIIZZ3CZDI 



IZZlCZIiZDCZllZZICZlIZZICZ! 



Step 1 



Step3 



Set Memory Protect to OFF. 



►To write the data into the internal memory, set the Memory 
Protect of the D-50 to OFF as foliows. 



1 : Push the Tune/Function Button. 



TUN£/ 

FUNCTION 



2 : Select "Memory Protect" with the Selector 
Button and turn it OFF with the Joystick. 



This flashes when the Selector 
Button is pushed. 



Master Tune 
442Hz 



Project Pedal SW ExiConi 
[Ml P-SFT BRL 



CiZ] EZZI [ 



►To write the data onto the optional Memory Card (M-256D), set 
the Protect Switch of the Memory Card to OFF as follows. 




OFF 



49 



WRITING 



Step 2 



Push the Write Button. 



Xr.Xk ****************** Patch Write 

Write to {f-fJjLj. Sure ? <Enter^Exit> 



Destination Patch Number 



Step 3 If you wish to rewrite the Patch, skip the following two "procedures 

and go to step 4, but if you wish to write the edited Patch to a 
different Patch number, change the destination Patch number as 
follows. 



•To write the Patch into the internal memory of the D-50, push 
the Interna! Button, and to write onto the Memory Card, push the 
Card Button. 

♦Assign the Bank and Number of the destination Patch by using 
the Patch Button. 

To leave the writing mode, simply push the Exit Button. 

Push the Enter Key. 

When the writing .is completed, the Display responds as shown 
beiow, and then returns to Play mode. 



Step 4 



Complete . 



*lf the Display does not respond as above, see "Error Messages" on 
page 74 , and repeat the writing procedure carefully. 

Step 5 Return the Memory Protect to ON. 

(As in Step 1.) 

* Memory Protect is the function that protects the existing data from 
accidental erasure. Be sure to set the Memory Protect ON except 
when writing new data. 

*When the unit is turned off and on again, the Memory Protect is 
automatically returned to the ON position. 



50 



MIDI 



51 MIDI 



Please Read the separate booklet "MIDI" as well as the following 
explanation on MIDI. 



1. CONNECTION 



>The D-50 controlling an external MIDI device. 



MIDI 
OUT f 



D-50 




»An external MIDI device controlling the D-50 



MIDI 
OUT 




• Using the MIDI THRU Connector 



MIDI 
OUT 


MID 
IN 




MIDI 
THRU 






MIDI 
IN 






















Si i= 


=5. 1 I =§§ 1 """I 




MIDI 
Device 


M 
De\ 


Dl 
«ce 


UU: 


D-50 



*An exact copy of the signal fed into the MIDI IN is sent through the 
MIDI THRU. Using the MIDI THRU, therefore, more than one MIDI 
device can be controlled. Technically speaking, many devices can be 
controlled through MIDI THRU's, but in practice, connecting more than 
a few devices would cause various complications. To connect several 
devices, use the optional MIDI Output Selector MPU-105. 

*The signal fed into the MIDI IN is not sent from the MIDI OUT. 



51 



MIDI 



2. SETTING MIDI FUNCTIONS 

You can change the settings of the MIDI Functions as follows. 
a. MIDI Functions commonly set for all Patches 

Push the MIDI Button to call MIDI Functions, and select one of the 
four Displays [MIDI 1 to 4] with the Scroll Button. 

MIDI 

CT3 



In each Display, several MIDI Functions can be set. Call the function 
you wish to change with the appropriate Selector Button, then 
change the value with the Joystick /Increment and Decrement 
Buttons. 

*The MIDI Function you have set is automatically written into memory, 
and therefore is retained even after the unit is turned off. 



[MIDI -1] 











MIDI CH Control SepCH Omni Local 
01 B.CH 01 OFF OH 











] c 



MIDI Channel 



Control 



Receive Channel OMNt 
in Separate mode 



r t t i 



Local 



>M!DI Channel 

This sets the Basic Channel (MIDI channel on which the D-50 
receives and transmits messages) from 1 to 16'. 

The transmit channel can be set to a different number from the 
Basic Channel individually for each Patch (See page 56). 



52 



MID! 



• Control 

This determines how to receive messages from an external MIDI 
device. 

[B.CH] Basic Channel mode 
When the D-50 is being controlled in Mono mode, it receives the 
Voice Messages (except for Note Event, Pitch Bender) on the Basic 
Channel from the external device. 

[G.CH] Global Channel mode 
When the D-50 is being controlled in Mono mode, by an extarnal 
device that has a Global Channel (one number smaller than the 
basic channel) it can receive all the Voice Messages (except for 
Note Event, Pitch Bender) on the Global Channel 

[MdeOFF] Mode Message OFF mode 
In this mode, the D-50 does not receive the Mode messages from 
the external MIDI device, but is assigned to the Key mode as set 
on the D-50. 

*How the above Control mode actually changes the Key mode set on 
the D-50 is explained on page 57 "Key Mode Alteration". 

• Receive Channel in Separate Mode 

When Separate (Solo)' mode is selected (see page 21 in the Basic 
Course), the Upper and Lower Tones can be controlled on different 
channels. The Lower Tone is controlled by the basic channel, and 
the Upper Tone is controlled by the receive channel set here. (The 
D-50's keyboard can control only the Upper Tone.) 1 to 16 are 
valid for receive channel. The receive channel of each Patch can 
be set to a differrent number from the channel set here. (See page 
56) 

• OMNI 

OMNI ON allows you to control the D-50 regardless of the MIDI 
channel of the external MIDI device. 

• Local 

Local OFF separates the keyboard section from the synthesizer 
section in the D-50. Therefore, Performance information is sent 
from the MIDI OUT. but the D-50 does not make any sound. 
The Performance information fed into the MIDI IN, however, can 
control the D-50's synthesizer section. 



53 



MID! 



[MIDI- 2] 



MID I -2 fifter Bender Mod Uolune 

OH OH OH OH 



] czzi nz3 c 



r T T T 

Aftertouch Bonder Modulation Vo'ume 



# Aftertouch 

To receive or transmit Aftertouch messages, set this to ON. 

# Bender 
To receive or transmit Bender messages, set this to ON. 

# Modulation 

To receive or transmit Modulation messages, set this to ON. 

# Volume 

To receive or transmit Volume messages, set this to ON. 



[MIDI- 3] 



MID I -3 



Hold 
OH 



Porta 
OH 



C=3 [ 



f T 



Pro9.C 

OH 



Exclu 

OH 



Hold Portamento Program Change Exclusive 



• Hold 

To receive or transmit Hold messages, set this to ON. 

i Portamento 
To receive or transmit Portamento messages, set this to ON. 

f Program Change 

To receive or transmit Program Change messages, set this to ON. 
Program Change Numbers correspond to the D-50's Patches as 
shown in the table on the next page. The program change number 
to be transmitted can be set for each Patch separately (see page 
56). Program Change messages are transmitted only when a Patch 
is selected by operating the D-50's panel buttons, or when the 
Program Change number to be transmitted is altered also on the 
D-50's panel. In other words, Program Change messages are not 
transmitted by Patch Shift with the pedal switch, or by patch 
selection with the Program Change messages sent from an external 
device. 



54 



MIDI 



Memo/y 


"\Mumber 
Bank ^"■"'v,. 


1 


2 


3 


4 


5 


6 


7 


8 


lnt«n'. 


1 


i 


2 


3 


i 


5 


6 


7 


8 


2 


9 


10 


11 


12 


13 


14 


15 


16 


3 


\-> 


18 


19 


20 


21 


22 


23 


24 


4 


25 


26 


27 


28 


29 


30 


31 


32 


5 


33 


34 


35 


36 


37 


38 


39 


40 


6 


41 


42 


43 


44 


45 


46 


47 


48 


7 


49 


50 


51 


52 


53 


54 


55 


56 


8 


57 


58 


59 


60 


61 


62 


63 


64 


Card 


1 


65 


66 


67 


68 


69 


70 


71 


72 


2 


73 


74 


75 


76 


77 


78 


79 


80 


3 


81 


82 


83 


84 


85 


86 


87 


88 


4 


89 


90 


91 


92 


93 


94 


95 


96 


5 


97 


98 


99 


100 


101 


102 


103 


104 


6 


105 


106 


107 


108 


109 


110 


111 


112 


7 


113 


114 


115 


116 


117 


118 


119 


120 


8 


121 


122 


123 


124 


125 


126 


127 


128 



*0 to 127 Program changes can be sent. 

# Exclusive 
To receive or transmit Exclusive messages (Roland ID Number 
only), set this to "ON" or "P-Dump". 

Normally, this is set to "ON". "P-Dump" (Patch Dump) should be 
selected to record patch data into a device that can record 
Exclusive Messages, such as a computer, the MC-500 
(microcomposer), etc. When set to "P-Dump", the Patch you select 
is transmitted to an external device. However, it cannot be 
transmitted by Patch Shift with the pedal switch, or by patch 
selection with the Program Change messages sent from an external 
device. 



[MIDI -4] 



MID I -4 Control Change 



PedalSU ExtCont 
91 31 



EZZ1 [ 



] [ 



fi 



3 [ 



Pedal Switch 



External Control Pedal 



The external MIDI device can be controlled with the pedal switch 
or external control pedal. 

♦ Pedal Switch 

With the pedal switch, the Controls from 64 to 95 can be 
controlled. See the MIDI Implementation Chart at the back of the 
owner's manual. 

♦ External Control Pedal 

With the external control pedal. Controls from to 31 can be 
controlled. See the MIDI Implementation Chart at the back of the 
owner's manual. 



55 



MIDI 



b. MIDI Functions individually set for each Patch 



*The edited data does not automatically rewrite the previous Patch, and 
therefore will be erased when a different Patch is selected, or the unit 
is turned off. To retain the edited data, take the appropriate writing 
procedure explained on page 48 "Writing". 

Call the MIDI Display (Display 10) in the Patch Factor menu, then 
call the necessary parameter with the Selector Button, and set the 
value with the Joystick/Increment and Decrement Buttons. 



Play Mode Display 


1 1 


C 


a a a a a 


C3 


t 


ten Menu Display 


t 1 



a n a o □ ■ a 



I— 11 ****************** MIDI Channel 
TxCH 91 TxPCOFF SepCHOFF 



Transmit Channel 



.Transmit Program 
Change Number 



Receive Channel 
in Separate Mode 



i Transmit Channel 
The transmit channel of each Patch can be set to a different 
number from the basic channel. B and 1 to 16 are valid. At B, 
the channel number is the same as the Basic Channel. 

I Transmit Program Chnage Number 

A Program Change number to be transmitted can be set for each 
Patch individually. OFF and I to 100 are valied. At OFF, the 
Program Change number preprogramed in each Patch shown in 
the table on page 55 is transmitted. 

> Receive Channel in Separate Mode 

A receive MIDI channel in Separate mode can be set /or each 
Patch individually. OFF and 1 to 16 are optional. At OFF, the 
receive channel set in "MIDI Functions commonly set for all 
Patches" on page 53 is used. 



56 



i i 
1 1 

.a 2 



m 



.. « 5 



= £ 

e a 



16 



E £ 




-e 



-© 






s^Ql 








o 










^ 


o 






s 



















o 
o 


















a 








^ 











s 




o 
































o 

o 




— 1 




~r 












WMW!SMMSsj$mtMM 



"5 8 



D 9 II 




1 o W~ 




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3 


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Sl£j 







D>-2- 

O 

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|S 



MIDI 



4. DATA TRANSFER WITH MIDI 



Using the Roland MIDI Exclusive messages, the data can be 
transferred from one D-50 to another D-50. Sending data is called 
Bulk Dump, and receiving data is called Bulk Load. 

The Bulk Dump and Bulk Load processes function whether the 
Exclusive switch in the MIDI Functions is ON or OFF. 

There are two methods of data transfer via MIDI ; Handshake and 
One— way. 

Handshake allows you to verify whether the receiver is ready to 
receive the data, while one-way transmits the data without 
confirming the condition of the receiver. The D-50 can select either 
of the two methods. 



CONNECTION 



•(Handshake Connection) 



<One-way Connection) 



MIDI 
IN 



MIDt 
OUT 



a; 



Transmitter D-50 










MIDI 
OUT 




MIDI 
IN 




□ i_5^3. j j jfi 1 ' i 






OIJ=?. ■ iisil' '....'-I 




E? 


Transmitter D-50 


m 


Receiver D-50 





step 1 



Set the Basic Channel of the receiver to the same number as the 
transmitter's. 



step 2 Set the Memory Protect of the receiver to OFF.(See page 49) . 

step 3 Push the Transfer Buttons on both the transmitter and receiver 

devices. 



61 



MIDI 



step 4 Set the receiver to the awaiting signal mode. 

• Handshake Mode 

1) Select "B. Load" with the corresponding Selector Button. 











* Data Transfer- * Select Type ... 
< E . Dump >< E . Load >< I nt->Crd > < Crd* I nt > 











LXH 



CZZ] CZZ] EZD 



* Data Transfer * E Bulk Load ] 

fire you sure ? ... <Enter/Exit> 



2) Push the Enter Key. 



* Data Trsns-f'sr * [ Bulk Load 1 

Waiting . 



'One-way Mode 

1) While holding the Data Transfer Button down, push the Selector Button 
that corresponds to "B. Load". 



DATA 
TRANSFER 



G=D + 











* Data Transfer * Select Type ... 
<B.Durip><B.Load><Int*Crd><Crd*Int> 











CZD C 



nzn c 



* Data Transfer * C Bulk Load. &2 
fire you sure ? . . . <Enter^Exit> 



2) Push the Enter Key. 



* Data Transfer * C Bulk Load. 6 3 
Waiting . 



62 



MIDI 



step 5 



Set the transmitter to the signal -sending mode. 



'Handshake Mode 
Select "B. Dump" with the corresponding Selector Button. 











* Data Transfer * Select Type ... 

< B . Dump >< B . Load > < I n t*Crd X Crd* I nt > 











CZZ) 



t I 



* Data Transfer * C Bulk Dump D 

fire you sure ? ... <Enter/Exit> 



i One -way Mode 

While holding the Data Transfer Button down, push the Selctor Button 
that corresponds to "B. Dump". 



DATA 
TRANSFER 

G=J + 











* Data Transfer * Select Type . ... 
< B . Dump X B . Load > < I nt*Cr d > < Crd* I nt > 











lz^ c 



czz\ 



* Data Transfer * C Bulk Dump. Q 1 
fire you sure ? ... <Enter^Exit> 



63 



MIDI 



step 6 Push the Enter Key on the transmitter, and the data is transferred. 



When the data is correctly transferred, the Diplay responds as shown 
below. 



• Handshake Mode 
[Transmitter] 



• One —way Mode 
[Transmitter] 



* Data Transfer * 

Complete 


C Bulk Dump ] 


ceiver] 


* Data Transfer * 

Complete 


L Bulk Load 3 



* Data Transfer * 

Complete 


I Bulk Dump.O J 


[Receiver] 


* Data Transfer * 

Complete 


C Bulk Load.O 3 



*When the data fails to be transferred correctly, the Display responds 
with : 



MIDI Communication Error 



Push the Exit Button, then check if the connections are correctly 
and securely made. 

step 7 To return the Display to the play mode, push the Exit Buttons on 

both the receiver and transmitter devices. 

step 8 Return the Memory Protect of the receiver to ON. 



64 



DATA TRANSFER WITH MEMORY CARD 



[6] DATA TRANSFER WITH MEMORY CARD 



[Available Reverb Types] 



The entire Patch data written in the D-50's memory can be saved 
on the Memory Card, and the data on the Memory Card can be 
loaded into the D-50's internal memory. 

The data (Reverb Types) on the sound library (ROM Memory Card) 
can be copied to the D-50, or from the D-50 to the optional 
Memory Card (M-256D). 

* Please be sure to use the specified Memory Card, such as the supplied 
Memory Card or M-256D. 

A Memory Card can store up to 16 different Reverb Types (17 to 
32), as wei! as 64 Patches. Available Reverb Types differ depending 
on which Patch is currently in use. Patch in the internal memory 
or on a Memory Card. 



Patch in the Internal Memory Patch on a Memory Card 

— ' ' — i r- ' ' 



Internal Reverb Types 
(17-32) 



Internal Reverb Types 
(1-16) 



Memory Card Reverb Types 
(17-32) 



1. PATCH TRANSFER 



"Patch Trancefer" transfers Reverb Types 17 to 32 at the same 
time, and "Reverb Type Copy" can copy a Reverb Type to any of 
the 17 to 32 Reverb Types. 



a. Patch Transfer to the Memory Card 




4 j*. 



-JWi. 



> 



23. 



step 1 
step 2 
step 3 



Ail the 64 Patches stored in the D-50's internal memory can be 
saved onto the optional Memory Card (M-256D) at once. At the 
same time, 17 to 32 Reverb Types are saved. 



Step3 
Exit Button I 



Step5 



oiW. 4K. »*. 



-.'*• 



JCZSI 



I FTTH 



r~~i c 



□ CD CHEZ) CDCZDCZJCZICZICZICZJCZ] 



Step4 
Connect the Memory Card to the D-50. 

Set the Protect Swith on the Memory Card to the OFF position. 
Push the Data Transfer Button. 



* Data Transfer * Select, Type . . . 

<B. DupipXB. LoadX Int+Crd> <Crd*Int> 



65 



DATA TRANSFER WITH MEMORY CARD 



step 4 



Select "INT -* CARD" with the corresponding Selector Button. 



+ Data Transfer * 

fire you sure 



C Int + Card 3 
(Enter-'Ej-cit) 



To cancel the data transfer mode, simply push the Exit Button. 
*When you write data onto a Memory Card for the first time, pushing 

the button will show the following indication for a few seconds, but 

please carry on the procedure. 



Illegal Card 



step 5 Hit the Enter Key. 

When the data transfer is completed, the Display changes to as 

below, then returns to the Play Mode indication. 



step 6 



Complete . 



Return the Protect Switch on the Memory Cartridge to the ON 
position. 

*When the data fails to be transferred to the Memory Card properly, 
the Display responds with : 











* Data Transfer * C Int ■* Card 1 

Uerify Error . (Retry > (Cancel > 











] nzn 



t t 



Retry 



Cancel 



To transfer the data onto the Memory Card again, assign RETRY 
with the Selector Button and repeat the transfer procedure after 
carefully reading the instructions of the Memory Card. 

To leave this mode, select CANCEL with the Selector Button. 

b. Patch Transfer to the Internal Memory 

All the 64 Patches data stored on the Memory Card can be loaded 

to the D— 50's internal memory. 

At the same time, Reverb Types (17-32) are loaded. 




Jpsa 

y 



Step3 
Exit Button I 



Step5 



3in$( mom 



TSf 



rzzuzzi nz3 



1 CZHI 



IL3JCZ1CZ1CZII 



Step4 



66 



DATA TRANSFER WITH MEMORY CARD 

step 1 Connect the Memory Card to the D-50. 

step 2 Turn the Memory Protect of the D-50 to OFF. (See page 49.) 

step 3 Push the Data Transfer Button. 



* Data Transfer- * Select Type . . . 
<B.Dunp><B.Load)CInt+Crd><Crd*Int> 



step 4 



Select "CARD -»• INT" with the corresponding Selector Button. 



* Data Transfer * C Card * Int. 3 

fire you sure ? ... <Enter/Exit> 



To cancel the data transfer mode, simply push the Exit Button. 
step 5 Hit the Enter Key. 

When the data transfer is completed, the Display changes as below, 
then returns to the Play Mode indication. 



Complete . 



step 6 Return the Memory Protect of the D-50 to ON. 

#When the data fails to be transferred to the D— 50 properly, the 
Display responds with : 











* Data Transfer * C Int. * Card ] 

Verify Error . <Retry> <Cancel> 











CZZI L 



nu [ 



t t 



Retry 



Cancel 



To transfer the data from the Memory Card again, assign RETRY 
with the Selector Button and repeat the transfer procedure after 
carefully reading the instructions of the Memory Card. 

To leave this mode, select CANCEL with the Selector Button. 



67 



DATA TRANSFER WITH MEMORY CARD 



2. COPYING A REVERB TYPE 



On the optional Sound Library Memory Card (ROM), 32 reverb types 
(1 to 32) are programmed. 16 (17 to 32) of these reverb types 
can be copied to the D— 50's internal memory. Also, the reverb 
types written in the D— 50's memory can be copied to the optional 
Memory Card (M-256D). 

a. Copying from a Memory Card to the D- 50 

step 1 Connect the Sound Library Memory Card (ROM) to the D-50. 

Turn the Memory Protect of the D-50 to OFF.(See page 49.) 

Call any Patch on the Memory Card. 



step 2 
step 3 
step 4 

step 5 



Call the Output Mode Display (Display 8), and select one of the 
Reverb Types (17 to 32) to be copied. 

While holding the Shift Key down, push the Write Button. 



C— 11 ****************** Reverb Write 

Write to fir 17. Sure ? <Enter/Exit> 



Flashing • 



Number of destination Reverb Type 



step 6 Push the internal Button. 

step 7 Push the center Selector Button. (The number of the destination 

Reverb Type flashes.) 

step. 8 Using the Joystcik/lncrement and Decrement Buttons, select the 

destination Reverb Type (17 to 32) to be replaced with the one 
called from the Memory Card. 

step 9 Hit the Enter Key. 

step 10 Return the Memory Protect to ON. 



68 



DATA TRANSFER WITH MEMORY CARD 



b. Copying from the D-50 to a Memory Card 

step 1 Connect the Memory Card (M-256D) to the D-50. 

Set the Protect Switch on the Memory Card to the OFF position. 
Select any Patch in the D-50. 



step 2 
step 3 

step 4 



step 5 



Calf the Output Mode Display (Display 8), and select one of the 
Reverb Types (17 to 32) to be copied. 

While holding the Shift Key down, push the Write Button. 



C— 11 ****************** Reverb Write 

Write to fli-17. Sure ? <Enter^Exit> 



n 



Flashing • 



Number of destination Reverb Type 



step 6 Push the Card Button. 

step 7 Push the center Selector Button. (The number of the destination 

Reverb Type flashes.) 

step 8 Using the Joystick/ Increment and Decrement "Buttons, select the 

destination Reverb Type (17 to 32) to be replaced with the one 
called from the D— 50. 

step 9 Hit the Enter Key. 

step 10 Return the Protect Switch to the ON position. 



69 



APPENDIX TABLES 



7 APPENDIX TABLES 



1. PATCH FACTOR TABLE 









Reference Page Number 


Display 


Factor 


Value 


Basic 
course 


Advanced 
course 


Play Mode 


Key Mode 


Whole, Dual, Split, Separate, Whote-S, Dual-S, 
Split- US, Split -LS, Separate-S 


10, 21 


57 


Split Point 


C2, C#2 — C7 


10, 22 




Tone Balance 


0— 100 


15, 22 




Tone Tune 


L-Tone Key Shift 


-24 — 0— +24 


23 




U-Tone Key Shift 


-24 — 0— +24 


23 




L-Tone Fine Tune 


-50 — 0— +50 


23 




U-Tone Fine Tune 


-50 — 0— +50 


23 




Patch Name 


1 ...18 («-) (->) 


SPACE, A — Z, a — z, 1 —0, - 


20 




Control 


Bender Range 


— 12 


27 




After Touch 
(Pitch Bender) 


-12 — 0— +12 


27 




Portamento Time 


0—100 


27 




Portamento Mode 


U, L, UL 


27 




Hold Mode 


U, L, UL 


27 




Output 


Output Mode 


1 —4 


26 




Reverb Type 


1 — 32 (17 — 32 Change Type) 


26 


68, 69 


Reverb Balance 


0.-100 


26 




Total Volume 


— 100 


26 




Chase 


Chase Mode 


UL, ULL, ULU 


24 




Chase Level 


— 100 


24 




Chase Time 


— 100 


24 




MIDI 
Channel 


Transmit CH 


Basic CH, 1-16 




56 


Transmit Program 
Change No. 


Off, 1 ."100 




56 


Separate Mode 
Receive CH 


Off, 1 ... 16 




56 



70 



APPENDIX TABLES 



2. TONE PARAMETER TABLE 



a. Common 


Parameters 




Reference Page Number 


Display 


Tone Parameters 


Value 


Basic 
course 


Advanced 
course 


Tone Name 


1 — 10 (-) <-) 


SPACE, A — Z, a — z, 1 —0. - 




20 


Structure 


Structure No. 


1 —7 




4, 22 


Pitch ENV 


Velocity Range 


— 2 




23 


Key Follow (Time) 


— 4 




23 


Pitch ENV Time 


T1 — T4 


— 50 




23, 24 


Pitch 
ENV Level 


LO/L1/L2/ 

Sustain Level/ End Level 


-50*** 0"- +50 




23, 24 


Pitch 
Modulation 


LFO Depth 


0—100 




25 


Picth Lever Modulation 


0—100 




25 


Pitch After Touch 
Modulation 


0—100 




25 


LFO-1 


Waveform 


Triangle, Sawtooth, Square, Random 




25, 26 


Rate 


0—100 




25, 26 


Delay Time 


0— 100 




25, 26 


Sync. 


Off, On, Key 




25, 26 


LFO-2 


Waveform 


Triangle, Sawtooth, Square, Random 




25, 26 


Rate 


0— 100 




25, 26 


Delay Time 


0— 100 




25, 26 


Sync. 


Off, On 




25, 26 


LFP-3 


Waveform 


Triangle, Sawtooth, Square, Random 




25, 26 


Rate 


0—100 




25, 26 


Delay Time 


0.-100 




25, 26 


Sync. 


Off, On 




25, 26 


EQ 


Lf 


63, 75, 88. 105, 125, 150, 175, 210, 250. 
300, 350, 420. 500. 600, 700, 840 




27 


Lg 


-12 — 0— +12 




27 


Hf 


250. 300, 350, 420, 500, 600, 700. 840, 1.0, 1.2, 1.4, 
1.7, 2.0, 2.4, 2.8. 3.4, 4.0, 4.8, 5.7, 6.7, 8.0, 9.5 




27, 28 


HQ 


0.3, 0.5, 0.7, 1.0, 1.4, 2.0. 3.0. 4.2. 6.0 




27, 28 


Hg 


-12 — 0— +12 




27, 28 


Chorus 


Chorus Type 


1 —8 




29 


Chorus Rate 


0—100 




29 


Chorus Depth 


0—100 




29 


Chorus Balance 


0—100 




29 



* Partial Mute=On/Off of each Partial (indicated in any Partial Parameter Display) 
Partial Balance = (not indicated in the Display) 



71 



APPENDIX TABLES 



b. Partial Parameters 




Reference Page Number 


Display 


Tone Parameters 


Value 


Basic 
course 


Advanced 
course 


WG Pitch 


Coarse 


CI, C#1 — C7 




30 


Fine 


-50 — — +50 




30 


Key Follow 


-1, -1/2, -1/4, 0, 1/8, 1/4, 3/8, 1/2, 
5/8, 3/4, 7/8, 1. 5/4. 3/2. 2. si, s2 




30, 31 


WG Modulation 


LFO Mode 


Off, ( + ), (-), A&L (After Touch & Lever) 




32 


P-ENV Mode 


Off, ( + ), (-) 




32 


Bender Mode 


Off, Key Follow, Normal 




32, 33 


WG Waveform 


Waveform 


Square, Sawtooth 




33 


PCM Wave No. 


1 .-100 (PCM Name) 




33, 34 


WG Pulse Width 


Pulse Width 


0". 100 




35 


Velocity Range 


-7 — 0— +7 




35 


After Touch Range 


-7 — 0— +7 




35, 36 


LFO Select 


+ 1, -1, + 2, -2, +3, -3 




35, 36 


LFO Depth 


— 100 




35, 36 


TVF 


Cutoff Frequency 


— 100 




36, 37 


Resonance 


— 30 




36, 37 


Key Follow 


-1. -1/2, -1/4, 0, 1/8, 1/4, 3/8. 
1/2, 5/8, 3/4, 7/8, 1, 5/4, 3/2. 2 




36, 38 


Bias Point/Bias Direction 


<A1 — <C7, >A1 — >C7 




36, 39 


Bias Level 


-7 — 0— +7 




36, 39 


TVF ENV 


Depth 


— 100 




39, 40 


Velocity Renge 


— 100 




39, 40 


Key Follow (Depth) 


— 4 




39, 40 


Key Folow (Time) 


— 4 




39, 40 


TVF ENV Time 


T1 «. T5 


0—100 




41, 42 


TVF ENV Level 


L1/L2/L3/ 

Sustain Level 


— 100 




41, 42 


End Level 


0, 100 




41, 42 


TVF Modulation 


LFO Level 


+ 1, -1, +2, -2, +3, -3 




42, 43 


LFO Depth 


— 100 




42, 43 


After Touch Range 


-7 — 0— +7 




43 


TVA 


Level 


— 100 




43 


Velocity Range 


-50 — 0— +50 




43 


Bias Point/Bias Direction 


<A1 — <C7, >A1 — >C7 




43, 44 


Bias Level 


-12 — 




43, 44 


TVA ENV Time 


T1 — T5 


0— 100 




44-46 


TVA ENV Level 


L1/L2/L3/ 

Sustain Level 


0—100 




44-46 


End Level 


0, 100 




44, 46 


TVA ENV 


Velocity Follow (TimeD 


0--4 




46 


Key Follow (Time) 


— 4 




46 


TVA Modulation 


LFO Select 


+ 1, -1, +2, -?, +3, -3 




47 


LFO Depth 


0— 100 




47 


After Touch Range 


-7 — 0— +7 




47 



72 



APPENDIX TABLES 



3. MID! FUNCTION TABLE 









Reference Page Number 


Display 


MIDI Functions 


Value 


Basic 
course 


Advanced 
course 


MID1-1 


MID! CH 


1 —16 




52 


Control 


Basic CH, Global CH, Mode Message Off 




52, 53 


Separate Mode 
Receive CH 


1—16 




56 


Omni 


Off, On 




52, 53 


Local 


Off, On 




52, 53 


MIDI-2 


After Touch 


Off, On 




54 


Bender 


Off, On 




54 


Modulation 


Off, On 




54 


Volume 


Off, On 




54 


MfDI-3 


Hold 


Off, On 




54 


Portamento 


Off, On 




54 


Program - Change 


Off, On 




54 


Exclusive 


Off, On, Patch Dump 




54 


M1DI-4 
Control Change 


Pedal SW 


64 — 95 




55 


External Control 


— 31 




55 



73 



APPENDIX TABLES 



4. ERROR MESSAGE TABLE 



Display 


Discription 








The back-up battery in the D-50 is low. 
Consult your local Roland Service Department. 




Check Internal Battery 
















The back-up battery (CR 2016) in the optional 
Memory Card (M-256D) is low. Replace it with 
a new one as shown in the instructions of the 
Memory Card. 




Check Card's Battery 
















You have tried to write data into the D-50's 
memory with the Memory Protect on the D-50 
set to ON. Set Memory Protect to OFF. 




Int Meroory Protected 
















You have tried to write data onto the Memory 
Card with the Memory Protect Switch on the 
Memory Card in the ON position. Set it to OFF. 




Card Memory Protected 
















The Memory Card is not connected securely. 




Card Not- Ready 
















You pushed the Chase 8utton in a mode other 
than Whole or Dual Key Mode. Select the Whole 
or Dual Key Mode. 




Set key Mode WHOLE or DUAL 
















You have assigned a value that exceeds the 
valid range. 




Input Data Error- 
Cancel . . . 
















The destination Block you have selected differs 
from the source Block. Reselect the appropriate 
Block, and repeat Block Copy, 




Da t a M i snatch 

Cancel . . . 
















Data is not transferred properly. Push the Exit 
Button, check if the connections are correctly and 
securely made and repeat the transfer procedure. 




M I D I Copif'iun i ca t i on Error 
















Data is not properly loaded or saved between the 
internal memory of the D-50 and the Memory 
Card. Read the instructions of the Memory Card, 
push the relevant Selector Button (Retry) and 
carefully repeat the loading or saving. To leave 
the transfer mode, push the relevant Selector 
Button (Cancel). 




Uerify Error- . <Retry> C Cancel) 
















This is shown when you are using a brand-new 
card or the card that contains the data for 
other than the D-50. 




Illegal Card 











74 



5. SAMPLE NOTE 



APPENDIX TABLES 



Patch No. 



Patch No. 



Patch No. 



Patch Name 



Used Tone 
Upper 

Lower 



Patch Name 



Key Mode 




Split Point 




Tone Balance 





L-Key Shift 




U-Key Shift 




L- Fine Tune 




U-Fine Tune 





Bender Range 




After{Pitch Bender) 




Portamento Time 




Portamento Mode 




Hold Mode 





Output Mode 




Reverb Type 




Reverb Balance 




Total Volume 





Chase Mode 




Chase Level 




Chase Time 





MID! TxCH 




MIDI TxProg.C 




MIDI SepCH 





Patch Name 



Key Mode 




Split Point 




Tone Balance 






L-Key Shift 




U-Key Shift 




L-Fine Tune 




U-Fine Tune 






Bender Range 




After(Pitch Bender) 




Portamento Time 




Portamento Mode 




Hold Mode 






Output Mode 




Reverb Type 




Reverb Balance 




Total Volume 






Chase Mode 




Chase Level 




Chase Time 






MIDI TxCH 




MIDI TxProg.C 




MIDI SepCH 




Used Tone 
Uooer 


Lower 



Key Mode 




Split Point 




Tone Balance 





L-Key Shift 




U-Key Shift 




L-Fine Tune 




U-Fine Tune 





Bender Range 




After (Pitch Bender) 




Portamento Time 




Portamento Mode 




Hold Mode 





Output Mode 




Reverb Type 




Reverb Balance 




Total Volume 





Chase Mode 




Chase Level 




Chase Time 





MIDI TxCH 




MIDI TxProg.C 




MIDI SepCH 





Used Tone 
Upper 



Lower 



75 



APPENDIX TABLES 



Tone Name 



Used Patch No. 



[Common Parameters] 



Pitch ENV 



LFO 



EQ 



Chorus 



Structure No. 





Velocity 




KF(Time) 





Partial Mute 









LO 




Ti 




L1 




T2 




L2 




T3 




SusL 




T4 




EndL 





[Partial Parameters 1/2] 
WG 



Wave 








Rate 








Delay 








Sync. 









Pitch Modulation 



WG 
Pitch 


Coarse 






Fine 






KF( Pitch) 






WG 
Modu- 
lation 


LFO Mode 






P-ENV Mode 






Bender Mode 






WG 

Wave 

Form 


Wave Form 






PCM No. 






WG 

Pulse 

Width 


PW 






Velocity 






After Touch 






LFO Select 






LFO Depth 







Lf 




Lg 




Hf 




HQ 




Hg 





LFO Depth 




Lever Mod 




After Mod 





76 



TVF 




1 


2 


TVF 


Frequency 






Resonance 






KF(Freq) 






Bias Point/ 
Bias Direction 






Bias Level 






TVF ENV 


Depth 






Velocity 






KF(Depth) 






KF(Time) 






TVF ENV 


T1 






T2 






T 3 






T4 






T5 






TVF ENV 


Li 






L2 






L3 






SusL 






EndL 






TVF 

Modulat- 
ion 


LFO Select 






LFO Depth 






After Touch 







TVA 



Type 




Rate 




Depth 




Balance 





TVA 


Level 






Velocity 






Bias Point/ 
Bias Direction 






Bias Level 







TVA ENV 


Velocity (Ti) 






KF{Time) 






TVA ENV 


Ti 






T2 






T3 






T4 






T5 






TVA ENV 


L1 






L2 






L3 






SusL 






EndL 






TVA 

Modulat- 
ion 


LFO Select 






LFO Depth 






After Touch 







[^Roland 



D-5D 



Implementation 



Roland Exclusive Messages 



[Data Format for Exclusive Messages 



Roland's MIDI implementation uses Ihe following data format 
for all exclusive messages (type IV) : 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


CMO 


Command ID 


[BODY] 


Main data 


F7H 


End of exclusive 



# MiDI status : FOH, F7H 

An exclusive message must be flanked by a pair of status 
codes, slarting with a Manufacturer- ID .immediately after FOH 
(MIDI version 1.0). 

# Manufacturer- ID : 41 H 

The Manufacturer- ID identifies the manufacturer of a MID! 
instrument that triggcres an exclusive message. Value 41H 
represents Roland's Manufacturer- ID. 

# Device- ID : DEV 

The Device- ID contains a unique value that identifies the 
individual device in the multiple implementation of MIDI 
instruments. It is usually set to 00H - OFH, a value smaller 
by one than that of a basic channel, but value 00H — 1FH 
may be used for a device with multiple basic channels. 

# Model- ID: MDL 

The Model -ID contains a value that uniquely identifies one 
model from another. Different models, however, may share an 
identical Model— ID if they handle similar data. 

The Model -ID format may contain 00H in one or more places 
to provide an extended data field. The following are examples 
of valid Model -IDs, each representing a unique model : 

OIH 

02H 

03H 

00H, 01H 

OOH, 0211 

OOH, 0011, 01H 



# Command- ID 



CMD 

The Command -ID indicates the function of an exclusive 
message. The Command— ID format may contain OOH in one 
or more places to provide an extended data field. The 
following arc examples of valid Command-IDs, each 
representing a unique function : 



# One- way transfer procedure (See Sectton3 for details.) 

This procedure is suited for the transfer of a small amount of 
data. It sends out an exclusive message completely independent 
of a receiving device status. 

Connection Diagram 



Device (A) 






Device (B) 


MIX out 
moi in 






MIDI IN 

MICH our 









Connectionat point2 is essential for "Request data" procedures. 
(See Sections) 

# Handshake- transfer procedure (See Section4 for details.) 

This procedure initiates a predetermined transfer sequence 
(handshaking) across the interface before" data transfer takes 
place. Handshaking ensures that reliability and transfer speed 
are high enough to handle a large amount of data. 

Connection Diagram 



Device (A) 



Device (B) 



MlfX OUT 
MIDI IN 



MIDI IN 
MIDI OUT 



Connectionat pointsl and 2 is essential. 

Notes on the above two procedures 

*There are separate Command -IDs for different transfer 

procedures. 
*DevicesA and B cannot exchange data unless they use the 

same transfer procedure, share identical Device— ID and Model 

ID, and are ready for communication. 



One- way Transfer Procedure 



This procedure sends out data all the way until it stops when 

the messages are so short that answerbacks need not be 

checked. 

For long messages, however, the receiving device must acquire 

each message in time with the transfer sequence, which inserts 

intervals of at least 20 milliseconds in between. 



Types of Messages 



Message 


Command ID 


Request data 1 
Data set 1 


RQl <11H) 
DTI (I2H) 



0111 

021! 
0311 

0011, 0111 
OOH, 02H 
0011, 0011, OIH 

# Main data : BODY 

This field contains a message to be exchanged across an 
interface. The exact data size and contents will vary with the 
Model -11) and Command -ID. 



UJ Address- mapped Data Transfer 



Address mapping is a technique for transferring messages 
conforming to the data format given in Section I. It assigns 
a scries of memory - resident records — waveform and tone 
data, switch status, and parameters, for example — to specific 
locations in a machine -dependent address space, thereby 
allowing access to data residing at the address a message 
specifics. 

Address -snapped data transfer is therefore independent of 
models and data categories. This technique allows use of two 
different transfer pr<xxxJiires : one-way transfer and 

handshake transfer. 



# Request data # 1 ; RQ1 (11H) 

This message is sent out when there is a need to acquire data 
from a device at the other end of the interface. It contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQl message, the remote device checks its 
memory for the data address and size that satisfy the request. 

If it finds them and is ready for communication, the device will 
transmit a "Data set I (DTI)" message, which contains the 
requested data. Otherwise, the device will send out nothing. 



8yte 


Description 


FOH 


Exclusive status 


41.H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


11H 


Command ID 


aaH 


Address MS8 




USB 


SS.H 


Size MSB 




LSB 


sum 


Check sum 


F7H 


End of exclusive 



# Data set 1 



*Tho size of the requested data does not indicate the numlwr 
of bytes that wilr make up a DTI message, but represents 
the address fields where the requested data resides. 

♦ Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

♦The same number of bytes comprises address and size data, 
which, however, vary with the Model -ID. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum arc summed. 

DT1 (12H) 
This message corresponds to the actual data transfer process. 
Because every byte in the data is assigned a unique address, 
a DTI message can convey the starting address of one or 
more data as well as a scries of data formatted in an address 
- dependent order. 

The MID! standards inhibit non-real time messages from 
interrupting an exclusive one. This fact is inconvenient for the 
devices that support a "soft -through" mechanism. To maintain 
compatibility with such devices, Roland has limited the DTI to 
256 bytes so that an excessively long message is sent out in 
separate segments. 



Device (A) 



Device (B) 



Byte 


Description 


FOH. 


Exclusive 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


I2H 


Command ID 


aaH 


Address MSB 


: 


LSB 


ddH 


Data 


sum 


Check sum 


F7H 


End of exclusive 



♦ A DTI message is capable of providing only the valid data 
among those specified by an RQl message. 

*Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The number of bytes comprising address data varies from 
one Model- ID to another. 

♦The error checking process uses 3 checksum that provides 
a bit pattern where the least significant 7 bits are 2cro when 
values for an address, size, and that checksum arc summed. 



Example of Message Transactions 

• Device A sending data to Device B 
Transfer of a DTI message is all that takes place. 



Oevice (A) 



Device (8) 



[Data set I] - — ■ — ■ *- 

♦ More than 20m sec time internal. 

[Data set I] **- 



(Data set 1] — • (Request data) 

(Data set I] *- 

♦ More than 20m sec time internal. 

[Data set l] »►- 



(Data set 1) 



p|[Handshake- Transfer Procedure 



Handshaking is an interactive process where two devices 
exchange error checking signals before a message transaction 
takes place, thereby increasing data reliability. Unlike one-way 
transfer that inserts a pause between message transactions, 
handshake transfer allows much speedier transactions because 
data transfer starts once the receiving device returns a ready 
signal. 

When it comes to handling large amounts of data — sampler 
waveforms and synthesizer tones over the entire range, for 
example — across a MIDI interface, handshaking transfer is 
more efficient than one— way transfer. 



Types of Messages 



Message 


Command ID 


Want to send data 


WSD (40H) 


Request data 


ROD (4IH) 


Data set 


DAT (42H) 


Acknowledge 


ACK (43H) 


End of data 


£00 <45H) 


Communication error 


ERR (4EH) 


Rejection 


RX (4FH) 



# Want to send data : WSD (40H) 

This message is sent out when data must be sent to a device 
at the other end of the interface, it contains data for the 
address and size that specify designation and length, 
respectively, of the data to be sent. 

On receiving a WSD message, the remote device checks its 
memory for the specified data address and size which will 
satisfy the request. If it finds them and is ready for 
communication, the device will return an "Acknowledge 
(ACK)" message. 
Otherwise, it will return a "Rejection (RjC)" message. 



[Data set 1] 



Byte 


Description 


FOH 


Exclusive status 


4tH 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


40H 


Command 10 


aaH 


Address MSB 


: 


LSB 


ssH 


Si2e MSB 




LSB 


sum 


Check sum 


F7H 


End of exclusive 



• Device C requesting data from Device A 

Device B sends an RQl message lo Device A. Checking the 

message. Device A sends a DTI message back to Device B. 



♦ The size of the data to be sent docs not indicate the number 
of bytes that make up a "Data set (DAT)" message, but 
represents the address fields where the data should reside. 

♦Some models are subject to limitations in data format used 
for a single transaction. Requested d3ta, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model- ID. 

♦The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits arc zero when 
values for an address, size, and thai checksum are summed. 



# Request data -. RQD (41 H) 

This message is sum out when there is a need lo acquire data 
from a device at the other end of ihc interface. It contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQD message, the remote device checks its 
memory for the data address and size which satisfy the request. 
If it finds them and is ready for communication, the device wilt 
transmit a "Data set (DAT)" message, which contains the 
requested data. Otherwise, it will return a "Rejection (RJC)" 
message. 



8yte 


Description 


FOH 


Exclusive status 


4tH 


Manufacturer ID (Roland) 


OEV 


Device ID 


MDL 


Model ID 


41H 


Command ID 


aaH 


Address MSB 




tie 


ssH 


Size MSB 




LSB 


Sum 


Check sum 


F7H 


End of exclusive 



*The size of the requested data does not indicate the number 
of bytes that make up a "Data set (DAT)" message, but 
represents the address fields where the requested data 
resides. 

*Somo models arc subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model— ID. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 

# Data set : DAT (42H) 

This message corresponds to the actual data transfer process. 
Because every byte in the data is assigned a unique address, 
the message can convoy the starting address of one or more 
data as well as a series of data formatted in an 

address -dependent order. 

Although the MIDI standards inhibit non-rea! time messages 
from interrupting an exclusive one, some devices support a " 
soft -through " mechanism for such interrupts . To 
mainta incompatibility with such devices, Roland has limited the 
DAT to 256bytcs so that an excessively long message is sent 
out in separate segments, 



# Acknowledge 



# End of data 



*A DAT message is capable of providing only the valid data 
among those specified by an RQD or WSD message. 

*Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The number of bytes comprising address data varies from 
one model ID to another. 

*Thc error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 



ACK (43 H) 

This message is sent out when no error was detected on 
reception of a WSD, DAT, "rind of data (EOD)", or some other 
message and a requested setup or action is complete. Unless 
it receives an ACK message, the device at the other end will 
not proceed to the next operation. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


43H 


Command ID 


F7H 


End of exclusive 



EOD (45H) 

This message is sent out to inform a remote device of the end 
of a message. Communication, however, will not come to an 
end unless the remote device returns an ACK message even 
though an EOD message was transmitted. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


45H 


Command ID 


F7H 


End of exclusive 



# Communications error : ERR (4EH) 

This message warns the remote device of a communications 

fault encountered during message transmission due, for 
example, to a checksum error. An ERR message may be 
replaced with a "Rejection (RJC)" one, which terminates the 
current message transaction in midstream. 

When it receives an ERR message, the sending device may 
cither attempt to send out the last message a second time or 
terminate communication by sending out an RJC message. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


42H 


Command ID 


aaH 


Address MSB 




LSB 


ddH 


Data 


sum 


Check sum 


F7H 


End of exclusive 



8yte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


4EH 


Command ID 


F7H 


End of exclusive 



# Rejection • RJC (4FH) 

This message is sent out when there is a need to terminate 
communication by overriding the current message. An RJC 
message will be triggered when : 

• a WSD or RQD message has specified an illegal data address 
or size, 

• the device is not ready for communication. 

- an illegal number of addresses or data has been detected, 
•data transfer has been terminated by an operator. 

• a communications error has occurred. 

An ERR message may be sent out by a device on either side 
of the interface. Communication must be terminated 

immediately when either side triggers an ERR message. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


4FM 


Command ID 


F7H 


End of exclusive 



# Example of Message Transactions 



• Error occurs while device (A) is receiving data from 
device (8). 

1) Data transfer from device (A) to device (B). 



Device (A) 



Device (B) 



■ [Data set] 



[Acknowledge] ■ 

(Error) x — «- 

[Communication error] 



[Data set] 



[Data set] 



[Acknowledge] 



(the same data 
■*- as above) 



2) Device (8) rejects the data re— transmitied. and 

quits data transfer, 



Device (A) 



Device (B) 



[Acknowledge] 

(Error) x -*— 

[Communication error] - 
' (Quit) -*- 



(Data set] 



[Data set] 



[Rejection] 



► Data transfer from device (A) to device (8). 



Device (A) 



[Want to send data] 
[Data set] 
[Data set] 

[End of data] 



Device (B) 



taj 


*- 


























.*»_ 





[Acknowledge] 
[Acknowledge] 
[Acknowledge] 

[Acknowledge] 



3) Device (A) immediately quits data transfer. 



Device (A) 



[Acknowledge] 
(Error) x 

[Rejection] 



Device (B) 



[Data set] 



(Data set] 

-*- (Quit) 



♦ Device (A) requests and receives data from device (B). 



Device (A) 



[Request data] 
[Acknowledge] 
[Acknowledge] 

(Acknowledge] 



Device (B) 



(Data set] 



[Data set] 



[End of data] 



8-16 VOICE DIGITAL KEYBOARD 

model d-50 MIDI Implementation Chart 



Date : Jun. 05. 1987 
Version : 2.10 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


1-16 

1-16 


1-16 
1-16 


Memorized 


Default 
Mode Messages 
Altered 


Mode 3 

POLY, OMNI OFF 


Mode 1, 3, 4 

MONO.POLY.OMN! ON/OFF 
Mode 2 — Mode 1 


Memorized 


Note 
Number 


: True Voice 


24-108 


0-127 
12-108 




.. . . Note ON 

Velocity ,, ^^„ 
Note OFF 


O 

X 9n v=0 


O v=1-127 

X 




After Key's 
Touch Ch's 


X 

* 


X 
* 




Pitch Bender 


* 


* 0-12 semi 


9 bit resolution 


1 

5 

7 

0-31 

6. 38 

Control 

Change 

64 

65 

64-95 

100, 101 


* 
* 
O 

X 

* 
* 

o 

X 


* 

* 

* 

O (0. 2-4. 8-31) 

** 

* 

O (66-95) 

** (0. 1) 


Modulation 

Portamento Time 

Volume 

Ext Control 

Data Entry (MSB, LSB) 

Hold 1 

Portamento SW 
Pedal Switch 
RPC (LSB, MSB) 


Prog 
Change 


True # 


* 0-127 


* 0-127 
0-127 




System Exclusive 


* 


* 




System 
Common 


Song Pos 

Song sel 
Tune 


X 
X 
X 


X 
X 
X 




System 
Real Time 


j Clock 

i Commands 


X 
X 


X 
X 




Aux j 

Message i 


Local ON/OFF 
All Notes OFF 
Active Sense 

Reset 


X 

O (123) 

X 

X 


o 

O (123-127) 

O 

X 


Memorized 1 


Notes 


* Can be set to O or X manually, and memorized. 

* * RPC= Registered parameter control number. 

RPC#0 : Pitch bend sensitivity 
RPC#1 : Master fine tuning 
Parameter values are given by Oata Entry. 



Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF. POLY 



Mode 2 : OMNI ON. MONO 
Mode 4 : OMNI OFF. MONO 



O : Yes 
X : No 



MIDI Implementation Chart (separate 



MODEL D-50 

* Recognized if key mode in patch function is 'Sep' or 'Sep-S'. 



CH) 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 




1-16 
1-16 


Memorized 


Default 
Mode Messages 
Altered 


......... 


Mode 3. 4 (M = 1) 
X 


Memorized 


Note 

Number 


True Voice 


********* 


0-127 
12-108 




Note ON 
VelOC,ty Note OFF 




O v = 1-127 
X 




After Key's 
Touch Ch's 




X 
* 




Pitch Bender 




* 0-12 semi 


9 bit resolution 


1 

5 

7 

0-31 

6, 38 

Control 

Change 

64 

65 

64-95 

100, 101 




* 
* 
X 

O (0, 2-4, 8-31) 
** 

* 

* 

O (66-95) 

** (0) 


Modulation 

Portamento Time 

Volume 

Ext Control 

Data Entry (MSB, LSB) 

Hold 1 

Portamento SW 
Pedal Switch 
RPC (LSB, MSB) 


Prog 

Change 


True # 


********* 


X 




System Exclusive 




X 




System 
Common 


Song Pos 
Song sel 
Tune 




X 
X 

X 




System j Clock 
Real Time i Commands 




X 
X 




Aux 
Message 


Local ON/OFF 
AH Notes OFF 
Active Sense 
Reset 




o 

O (123) 

o 

X 


Memorized 


Notes 


* Can be set to O or X manually, and memorized. 

* * RPC= Registered parameter control number. 

RPC#0 : Pitch bend sensitivity 
Parameter values are given by Data Entry- 



Mode 1 : OMNI ON, POLY 
Mode 3 : OMNI OFF, POLY 



Mode 2 : OMNI ON. MONO 
Mode 4 : OMNI OFF, MONO 



O : Yes 
X : No 



8-16 VOICE DIGITAL KEYBOARD 

model D-50 MIDI Implementation 



Date : Jun. 05. 1 987 
Version : 2.10 



1. TRANSMITTED DATA 

Status Second Third 

1001 nnnn Okkk kkkk 0000 0000 



1001 nnnn Okkk kkkk Ovvv vvvv 

1011 nnnn 0000 0001 Ovvv vvvv 

1011 nnnn 0000 0111 Ovvv vvvv 

1011 nnnn 000c cccc Ovvv vvvv 

1011 nnnn 0100 0000 0000 0000 

1011 nnnn 0100 0000 0111 1111 

1011 nnnn 0100 0001 0000 0000 

1011 nnnn 0100 0001 0111 1111 

1011 nnnn 0s$s ssss 0000 0000 

1011 nnnn Osss ssss 0111 1111 

1100 nnnn Oppp pppp 

1101 nnnn Ovvv vvvv 

1110 nnnn Ovvv vvvv Ovvv vvvv 

1011 nnnn 0111 1011 0000 0000 

1011 nnnn 0111 1100 0000 0000 

1011 nnnn 0111 1111 0000 0000 



Description 

Note OFF *1-1 

kkkkkkk =12 - 108 

Note ON 
kkkkkkk =24 - 108 
vvvvvvv = 1 — 127 

Modulation depth *!— 2 

vvvvvvv =0 - 127 

Main Volume *l-2 

vvvvvvv =0 - 127 



External control 




ccccc = 0-31 


*l-3 


vvvvvvv =0-127 




Hold 1 OFF 


*l-2,*!-4 


Hold 1 ON 


*i-2 


Portamento OFF 


*l-2 


Portamento ON 


*l-2 


Pedal Switch OFF 




sssssss = 64-95 


*l-5 


Pedal Switch ON 




sssssss = 64-95 


*l-5 



Progra m Change * 1 - 2, * 1 - 6 

ppppppp = 0—127 

Channel After Touch * 1-2,* 1-7 
vvvvvvv = — 127 

Pitch Bend Change *l-2 



1111 0000 



1311 0111 



AH NOTES OFF 
OMNI OFF 
POLY ON 

System exclusive 



*1-I 
*l-8 
*l-8 

*l-9 



Notes : 

*1 — 1 Even if the transmit channel is changed while the keyboard is being played, 
data is transmitted on the previous transmit channel. 

*l-2 Transmitted if the corresponding function switch is ON. 

*l-3 'ccccc' can be selected by BxtCont in MIDI function. 

*l-4 Even when the transmit channel is changed while Hold Pedal is being ON, 
data is transmitted on the previous transmit channel. 

Transmitted even when Hold Function switch is turned to OFF white the Hold 
Pedal is being ON. 

*l-5 'sssssss' can be selected by PedalSW in MIDI function. 

*l-6 Transmitted when TxPC in patch function is changed. 
'ppppppp' can be selected by TxPC in patch function. 

- 63 : Internal Memory Group 
64 - 127 : Card Memory Group 

*l-7 The maximum value is determined by the value of Afterlouch Volume. 

*1~8 Transmitted at power-up. 

When the transmit channel is changed, data is transmitted on the new 
channel. 

* 1-9 See section 5 (TRANSMITTED EXCLUSIVE MESSAGES IN NORMAL 
MODE), section 7 (TRANSMITTED EXCLUSIVE MESSAGES IN DATA 

TRANSFER MODE). 

2, RECOGNIZED RECEIVE DATA (MAIN CHANNEL) 



Status 



Second 



Third 



1000 nnnn Okkk kkkk Ovvv vvvv 

1001 nnnn Okkk kkkk 0000 0000 



1001 nnnn Okkk kkkk Ovvv vvvv 



1011 nnnn 0000 0001 Ovvv vvvv 



Description 



Note OFF, velocity ignored *2-l 
Note OFF *2-l 

kkkkkkk = 12 - 108 



Note ON 
kkkkkkk = 12 - 108 *2-l 
vvvvvvv = 1 — 127 

Modulation Depth *2-2 

vvvvvvv = — 127 



1011 nnnn 0000 0111 Ovvv vvvv Main Volume *2-2,*2-4 

vvvvvvv - - 127 



1011 nnnn 000c cccc Ovvv vvvv 



External Control *2-5 

ccccc = 0, 2 - 4, 8 - 31 
vvvvvvv =0—127 



1011 nnnn 0010 0110 Ovvv vvvv Data Entry LSB *2~3 

1011 nnnn 0100 0000 Ovvv vvvv Hold I OFF *2-2 

vvvvvvv =0—63 

1011 nnnn 0100 0000 Ovvv vvvv Hold 1 ON *2-2 

vvvvvvv =64—127 

1011 nnnn 0100 0001 Ovvv vvvv Portamento OFF *2-2 

vvvvvvv =0—63 

1011 nnnn 0100 0001 Ovvv vvvv Portamento ON *2-2 

vvvvvvv =64—127 



1011 nnnn Osss ssss Ovvv vvvv 
1011 nnnn Osss ssss Ovvv vvvv 



Pedal Switch OFF *2-6 
sssssss = 66 - 95 
vvvvvvv =0—63 

Pedal Switch ON *2-6 

sssssss = 66 - 95 
vvvvvvv = 64 — 127 



1011 nnnn 0110 0100 Ovvv vvvv RPC LSB 

1011 nnnn 0110 0101 Ovvv vvvv RPC MSB 



*2-3 
*2-3 



1100 nnnn Oppp pppp 

1101 nnnn Ovvv vvvv 

1110 nnnn Ovvv vvvv Ovvv vvvv 

1011 nnnn 0111 1010 0000 0000 

1011 nnnn 0111 1010 0111 Jill 

1011 nnnn 0111 1011 0000 0000 

1011 nnnn 0111 1100 0000 0000 

1011 nnnn 0111 1101 0000 0000 



Program Change *2-2, *2-7 

ppppppp = - 127 

Channel After Touch *2-2, *2-8 
vvvvvvv =0—127 

Pilch Bend Change *2-2 

Local OFF *2-9 

Local ON *2-9 

ALL NOTES OFF *2-10 

OMNI OFF *2-10 

OMNI ON *2-10 



1011 nnnn 0111 1110 000m mmmm MONO ON 
1011 nnnn 0111 1111 0000 0000 POLY ON 



*2-10,*2-ll 
*2-10,*2-ll 



1111 0000 
1111 1110 



1111 0111 System exclusive *2-12 

Active Sensing 



Notes : 

*2-I Note numbers outside the range 12 - 108 are transposed to 
the nearest octave inside this range, 

*2-2 Recognized if the corresponding function switch is ON. 

*2-3 RPC and value (Data Entry) are recognized as follows. 

RPC# value MSB value LSB Description 

Ovvv vvvv Oxxx xxxx BEND RANGE 

(0—12 semitone, 1 semitone step) 
xxxxxxx is ignored. 



1 



Ovvv vvvv Ovvv vvvv MASTER TUNE 

(-50 - +50 cent) 



*2-4 The volume of the sound can be controlled by main volume message 
within level which adjusted by the panel volume knob. 

*2-5 'ccccc' can be selected by ExtCont in MIDI function. 

Recognized as folows depending on how the ExtCont mode of Tune/Func 
is set. 



ExtCont mode 

'BAL' 

'AFTER' 

TviOD' 

'OFF' 



Function 

Tone Balance 
Channel pressure 
Moduration Depth 



1011 nnnn 0000 0101 Ovvv vvvv 



Portamento Time *2-2 

vvvvvvv = — 127 



1011 nnnn 0000 0110 Ovvv vvvv 



Data Entry MSB 



*2-6 'sssssss' can be selected by PedalSW in MIDI function. 

Recognized as folows depending on how the PedalSW mode of Tune/Tune 
is set. 



PedalSW mode 

■p-SFT 

•PORTA' 
'CHASE' 
'OFF' 



Function 

Patch Shift 
Portamento ON/OFF 
Chase ON. 'OFF 



However, Patch Shift function is available only in Play mode. Also, Chase ON 
/OFF is recognized only when the key mode is Whole or Dual. 

*2-7 Recognized only in play mode. 

- 63 : Internal Memory Group 
64 - 127 : Card Memory Group 

♦ 2-8 Ignored if ExtCont in Tune/Func function is 'AFTER'. 
*2~9 Ignored if key mode in patch function is 'Sep' or "Scp-S*. 

* 2- 10 Mode Messages (123 - 127) arc also recognized as ALL NOTES OFF. 

MONO channel range 'mmmmm' is recognized as follows, 
mm mmm True MONO channel range 








1 - 


- 8 


9 - 


- 16 


17 - 


-127 



1 - 8 

8 
ignore 

In MONO mode, channel of recognized each message is as follows. 

Control in MIDI function 



Message 


' B.CH ' 


' G.CH ' 


Note on/off 


individual 


individual 


Control change 


basic 


global 


Mode message 


basic 


basic 


Program change 


basic 


global 


Channel After Touch 


basic 


global 


Pitch bend change 


individual 


individual 


Exclusive 


basic 


basic 



♦Global channel is equal to "basic channel -• I". 

And if basic channel is 1, global channel is 16. 

*2— 11 Ignored if Control in MIDI function is 'MdeOFf'. 

*2-12See section 6 (RECOGNIZED EXCLUSIVE MESSAGES IN NOMAL MODE), 
section 8 (RECOGNIZED EXCLUSIVE MESSAGES IN DATA TRANSFER 
MODE). 

3. RECOGNIZED RECEIVE DATA (SEPARATE CHANNEL) 

♦ Recognized if key mode in patch function is 'Sep' or 'Sep-S*. 



Status 



Second 



Third 



1000 nnnn Okkk kkkk Ovvv vvvv 

1001 nnnn Okkk kkkk 0000 0000 



1001 nnnn Okkk kkkk Ovvv vvvv 

1011 nnnn 0000 0001 Ovvv vvvv 

1011 nnnn 0000 0101 Ovvv vvvv 

1011 nnnn 0000 0110 Ovvv vvvv 

1011 nnnn 000c cccc Ovvv vvvv 

1011 nnnn 0100 0000 Ovvv vvvv 

1011 nnnn 0100 0000 Ovvv vvvv 

1011 nnnn 0100 0001 Ovvv vvvv 

1011 nnnn 0100 0001 Ovvv vvvv 

1011 nnnn Osss ssss Ovvv vvvv 



Description 

Note OFF.vclocity ignored *3-l 
Note OFF *3-l 

kkkkkkk=12 - 108 

Note ON 
kkkkkkk = 12-108 *3-l 
wvvvvv— 1 — 127 

Modulation depth *3-2 

wvvvvv = 0-127 

Portamento Time *3-2 

wvvvvv = - 127 



Data Entry MSB 



*3-3 



External Control *3-4 

ccccc * 0, 2 - 4, 8 - 31 

wvvvvv = - 127 

Hold 1 OFF *3-2 

wvvvvv =0—63 

Hold 1 ON *3-2 

wvvvvv = 64-127 

Portamento OFF *3-2 

wvvvvv =0—63 

Portamento ON *3-2 

vvvvvvv =64—127 

Pedal Switch OFF *3-5 

sssssss = 66 - 95 
vvvvvvv — — 63 



1011 nnnn Osss ssss Ovvv vvvv 



1011 nnnn 0110 0100 Ovvv vvvv 
1011 nnnn 0110 0101 Ovvv vvvv 



1101 nnnn Ovvv vvvv 



1110 nnnn Ovvv vvvv Ovvv vvvv 

1011 nnnn 0111 1010 0000 0000 

1011 nnnn 0111 1010 0111 1111 

1011 nnnn 0111 1011 0000 0000 

1111 1110 



Pedal Switch ON 


*3 5 


sssssss - 66 - 


95 


vvvvvvv — 64 - 


- 127 


RFC LSB 


*3~3 


RFC MSI! 


*3-3 



Channel A f tcr Touch * 3 -- 2. * 3 - 6 
vvvvvvv = - 127 

Pitch Bend Change *3-2 

Local OKI- 
Local ON 
ALL NOTES OFF 

Active Sensing 



Notes : 

*3~1 Note numbers outside the range 12 - 108 are transposed to 
the nearest octave inside this range. 

*3— 2 Received if the corresponding function switch is ON. 

*3-3 RPC and value (Data Entry) are recognized as follows. 

RPC# value MSB value LSB Description 

Ovvv vvvv Oxxx xxxx BEND RANGE 

(0-12 semitone, 1 semitone step) 
xxxxxxx is ignored. 

*3-4 'ccccc' can be selected by ExtCont in MIDI function. 

Recognized as follows depending on the ExtCont mode of Tune/Func. 



ExtCont Mode Function 

"BAL' 

'AFTER' Channel pressure 

*MOD' Moduration Depth 

'OFF* 

*3— 5 'sssssss* can be selected by PedaiSW in MIDI function. 

Recognized as follows depending on the PedalSW mode of Tuno/Func. 
PedalSW Mode Function 

T-SFT' 

"PORTA' Portamento ON/OFF 

'CHASE' 

•OFF' 

*3-6 Ignored if ExtCont in Tune/Func function is 'AFTER'. 

4, EXCLUSIVE COMMUNICATION 

4.1 Message structure 

All exclusive communications are based on following structure 
( Roland Exclusive Format Type IV ). 

Byte Description 

a 1111 0000 Exclusive status 

b 0100 0001 Roland ID # 

c 0000 nnnn Device- ID # = MIDI basic channel 
where nnnn + 1 = channel # 

d 0001 0100 Model -ID # ( D-60 ) 

e Oaaa aaaa Command -ID # 

[ f Obbb bbbb Address MSB ] [] depend on Command -ID 

[ g Occc cccc Address ] 

[ h Oddd dddd Address LSB ] 

[ i Oeee eeee Data ] 

[ : 3 

j Offf ffff Checksum 

k 1111 0111 End of System Exclusive 

Summed value of the all bytes between Command -ID and EOX (f-j) 
must be 00H (7 bits). It doesn't include Command-ID and EOX. 

4.2 Address mapping 

Address Description 

Temporary area 

[ 00 - 00 - 00 ] Upper Partial- 1 temp^rca #4-1, #4-4 

[ 00 - 00 - 40 ] Upper Parlial-2 temp.area *4-l,*4-4 

I 00 — 01 - 00 ] Upper Common temp.area *4 — 1, *4-5 

[ 00 - 01 - 40 ] Lower Partial — 1 temp^rea *4-l, #4-4 

[ 00 - 02 - 00 ] Lower Partial-2 tcmp.area *4-l,*4-4 

[ 00 - 02 - 40 3 Lower Common lemp^rca *4-l, *4-5 

[ 00 - 03 - 00 ) Patch temjwrea *4-l, #4-6 

Memory area 

[ 02 - OO - 00 J Patch Memory 1-1 *4-2, *4-3 



[ 02 - 03 - 40 ] 



[ 03 - 60 - 00 3 

[ 03 - 62 - 78 1 

[ 04 - 0C - 08 3 



Patch Memory 

Patch Memory 

Reverb Data 
Reverb Dala 

Reverb Data 



1-2 



32 



*4-2. *4~3 
•4-2. *4-3 



*4-2, *4-7 
*4-2. *4-7 



*4~2. *4-7 



62 
63 



Extension 

Extension 



- 127 
- t27 



* [ hh— mm— II ] 'hh', "mm" and 'II' are showed by hex decimal. 
Ohhhhhhh Ommmmmmm Olllllll (binary), MS bit must be . 

Notes : 

*4~t Transmitted and recognized in NORMAL MODE. 

*4-2 Transmitted and recognized in DATA TRANSFER MODE. 
♦4-3 Each patch memory consists of the following. 



Offset 






Description 


[ 00 - 


00 - 


oo } 


Upper Partial- 1 


[ 00 - 


00 - 


40 3 


Upper Partial -2 


[ 00 - 


01 - 


oo 3 


Upper Common 


[ 00 - 


01 - 


40 3 


Lower Partial- 1 


[ 00 - 


02 - 


00 3 


Lower Partial -2 


[ 00 - 


02 - 


40 3 


Lower Common 


[ 00 - 


03 - 


00 ] 


Patch 



*4-4 
*4-4 
*4-5 
*4-4 
*4-4 
*4~5 
*4-fi 



*4-4 Each partial block consists of the following. 
Offset Function Value 






WG 


Pitch 


Coarse 





- 


72 


(C1,C#1 - C7) 


1 


wc 


Pitch 


Fine 





- 


100 


(-50 - +50) 


2 


WG 


Pitch 


Key follow 







16 


(-1.-1/2.-1/4.0.1/8. 
1/4.3/8,1.' 2,5,' 8.3 ■ / 4, 

7/8.1,5/4,3/2,2^1. s2) 


3 


WG 


Mod 


LFO Mode 





- 


3 


(OFF,(+).(-),A&L) 


4 


WG 


Mod 


P-ENV Mode 





- 


2 


(OFF,(+).(-) 


5 


WG 


Mod 


Bend Mode 





- 


2 


(OFF.KeyfolIow.Normal) 


6 


WG 


Wave 


Form 





- 


1 


(Square.Sawtooih) 


7 


WG 


PCM 


Wave No. 





- 


99 


(1 - 100) 


8 


WG 


Pulse 


Width 





- 


100 




9 


WG 


PW 


Velocity Range 





- 


14 


(-7 - +7) 


10 


WG 


PW 


LFO Select 





- 


5 


( + 1.-1.+2.-2.+3.-3) 


11 


WG 


PW 


LFO Depth 





- 


100 




12 


WG 


PW 


After touch Range 





- 


14 


(-7 - +7) 


13 


TVF 




Cutoff Frequency 





- 


100 




14 


TVF 




Resonance 





- 


30 




15 


TVF 




Keyfoltow 







14 


(-1.-1/2.-1/4.0.1/8. 
1/4.3/8.1,' 2.5^ 8,3, 'A, 
7/8,1,5/4,3/2.2) 


16 


TVF 




Bias Point/Dir 





- 


127 


«A1-<C7.>AI->C7) 


17 


TVF 




Bias Level 





- 


14 


(-7 - *7) 


18 


TVF 


ENV 


Depth 





- 


100 




19 


TVF 


ENV 


Velocity Range 





- 


100 




20 


TVF 


ENV 


Depth Keyfollow 





_ 


4 




21 


TVF 


ENV 


Time Keyfollow 





- 


4 




22 


TVF 


ENV 


Time 1 





- 


100 




23 


TVF 


ENV 


Time 2 





- 


100 




24 


TVF 


ENV 


Time 3 





- 


100 




25 


TVF 


ENV 


Time 4 





- 


100 




26 


TVF 


ENV 


Time 5 





- 


100 




27 


TVF 


ENV 


Level 1 





- 


100 




28 


TVF 


ENV 


Level 2 





- 


100 




29 


TVF 


ENV 


Level 3 





- 


100 




30 


TVF 


ENV 


Sustain Level 





- 


100 




31 


TVF 


ENV 


End Level 





- 


I 


(0,100) 


32 


TVF 


Mod 


LFOSelect 





- 


5 


( + l,-l.+2,-2.+3.-3) 


33 


TVF 


Mod 


LFO Depth 





- 


100 




34 


TVF 


Mod 


After touch Range 





- 


14 


(-7 - +7) 


35 


TVA 




Level 





- 


100 




36 


TVA 




Velocity Range 





- 


100 


(-50 - +60) 


37 


TVA 




Bias Point 





- 


127 


«A1-<C7,>AI->C7) 


38 


TVA 




Bias Level 





- 


12 


(-12 - 0) 


39 


TVA 


ENV 


Time 1 





- 


100 




40 


TVA 


ENV 


Time 2 


. 


- 


100 




41 


TVA 


ENV 


Time 3 





- 


100 




42 


TVA 


ENV 


Time 4 





- 


100 




43 


TVA 


ENV 


Time 5 





- 


100 




44 


TVA 


ENV 


Level 1 





- 


100 




45 


TVA 


ENV 


Level 2 





- 


100 




46 


TVA 


ENV 


Level 3 





- 


100 




47 


TVA 


ENV 


Sustain Level 





- 


100 




48 


TVA 


ENV 


End Level 





- 


1 


(0.100) 


49 


TVA 


ENV 


Velocity Follow 





- 


4 




50 


TVA 


ENV 


Time Keyfollow 





- 


4 




51 


TVA 


Mod 


LFO Select 





- 


5 


< + l.-l.+ 2.-2.*3,-3) 


52 


TVA 


Mod 


LFO Depth 





- 


100 




53 


TVA 


Mod 


After touch Range 





- 


14 


(-7 - +7) 


54 


Extension 


(for future) 





- 


127 




55 


Extension 







- 


127 




56 


Extension 







- 


127 




57 


Extension 







- 


127 




58 


Extension 







- 


127 




59 


Extension 







- 


127 




60 


Extension 







- 


127 




61 


Extension 







- 


127 





*4-5 Each common block consists of the following. 
Offset Function Value 





1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

1? 

18 

19 

20 

21 

22 

23 

24 

25 

26 

27 

28 

29 

30 

31 

32 

33 

34 

35 

36 

37 



Tone Name 1 



Tone Name 
Tone Name 
Tone Name 
Tone Name 

Tone Name 

Tone Name 

Tone Name 

Tone Name 

Tone Name 

Structure No. 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-ENV 

P-Mod 

P-Mod 

P-Mod 

LFO- 1 

LFO-1 

LFO-1 

LFO-1 

LFO -2 

LFO -2 

LFO -2 

LFO -2 

LFO-3 

LFO -3 

LFO-3 

LFO-3 

Low EQ 



Velocity Range 
Time Keyfollow 



38 Low EQ 

39 Low EQ 



Time 
Time 
Time 
Time 
Level 
Level 1 
Level 2 
Sustain Level 
End Level 
LFO Depth 
Lever 

After touch 
Wave Form 
Rate 

Delay Time 
Sync 

Wave Form 
Rate 

Delay Time 
Sync 

Wave Form 
Rate 

Delay Time 
Sync 
Frequency 



Gain 
Frequency 



40 


High EQ 


Q 


41 


High EQ 


Gain 


42 


Chorus 


Type 


43 


Chorus 


Rate 


44 


Chorus 


Depth 


45 


Chorus 


Batance 


46 


Partial 


Mute 


47 


Partial 


Balance 


48 


Extension 


(for future) 


49 


Extension 




50 


Extension 




51 


Extension 




52 


Extension 




53 


Extension 




54 


Extension 




55 


Extension 




56 


Extension 




57 


Extension 




58 


Extension 




59 


Extension 




60 


Extension 




61 


Extension 




62 


Extension 




63 


Extension 





0-63 



63 

63 

63 

63 

63 

63 

63 

63 

63 

6 

2 

4 

50 

50 

50 

50 

100 

100 

100 

100 

100 

100 

100 

100 

3 

100 

100 

2 

3 

100 

100 

1 

3 
100 

100 

1 

15 



24 

21 



- 24 

- 7 

- 100 

- 100 

- 100 

- 3 

- 100 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 

- 127 



C VA'-'ZVa'-V. 
V-'SVOV-") 



<1 - 7) 



(-50 - +50) 

(-50 - +50) 

(-50 - +50) 

(-50 - +50) 

(-50 - +50) 



(TRI.SAW.SQU.RND) 



(OFF.ON.KEY) 

(TRi.SAW.SQU.RND) 



(OFF.ON) 
(TR1,SAW,SQU.RND) 



(OFF.ON) 

( 63, 76, 88,105,125, 

150,175,210,250,300, 

350,420,500,600,700, 

840 ) 

(-12 - +12) 

(250.300.350,420,500, 

600,700,840.1.0,1.2, 

1.4,1.7,2.0,2.4,2.8. 

3.4,4.0,4.8,5.7,6.7, 

8.0,9.5) 

(0.3,0.5,0.7,1.0,1.4, 

2.0,3,0,4.2,6.0) 

(-12 - +12) 

(1 - 8) 



(00.01,10,11) 



10 



*4- fi Each patch block consists of the following. 
Offset function Value 



5. transmitted exclusive messages in normal modi; 






I'aich Name 


1 





- 


63 


(' '.'A'-X'a'-y. 

'l'-'OV-') 


I 


Patch Name 


2 





- 


63 






2 


Patch Name 


3 





- 


63 






:i 


Patch Name 


■1 





- 


63 






i 


Patch Name 


5 





- 


63 






5 


Patch Name 


6 





- 


63 






(i 


Patch Name 


7 





- 


63 






7 


Patch Name 


8 





- 


63 






8 


Patch Name 


9 





- 


63 






9 


Patch Name 


10 





- 


63 






10 


Patch Name 


11 





- 


63 






1 1 


Patch Name 


12 





- 


63 






12 


Patch Name 


13 





- 


63 






i:t 


Pa tcli Name 


14 





- 


63 






14 


Patch Name 


15 





- 


63 






15 


Patch Name 


16 





- 


63 






1(1 


Patch Name 


17 





- 


63 






17 


Patch Name 


IS 





- 


63 






IS 


Key Mode 









8 


(Who!e,Dual,Split, 

Separale.Whole-S, 

Dual-S,Sp1it-US, 

Split-LS,Separate-S) 


19 


Spiil Point 







- 


60 


(C2,C#2 - C7) 


20 


Portamento 


Mode 





- 


2 


(U.L.UL) 


21 


Hold Mode 







- 


2 


(U,L,UL) 


Ti 


Upper Tone 


Key Shift 





- 


48 


(-24 - +24) 


23 


Lower Tone 


Key Shift 





- 


48 


(-24 - +24) 


24 


Upper Tone 


Pine Tune 





— 


100 


(-50 - +50) 


25 


1/wcr Tone 


Fine Tune 





- 


100 


(-50 - +50) 


20 


Bender Range 





- 


12 




27 


After touch 


Bend Range 





- 


24 


(-12 - +12) 


28 


Portamento ' 


rime 





- 


100 




29 


Output Mode 







- 


3 


(1 - 4) 


30 


Reverb Type 







- 


31 


(1 - 32) 


31 


Reverb Balance 





- 


100 




32 


Total Volume 





- 


100 




33 


Tone Balance 





- 


100 




34 


Chase Mode 







- 


2 


(UL,ULL,ULU) 


35 


Chase i-evel 







- 


100 




36 


Chase Time 







- 


100 




37 


MIDI Transmit Channel 





_ 


16 


(Basic CH. ! - 16) 


38 


MIDI Separate Rev Channel 


- 


16 


(OFF.l - 16) 


39 


MIDI Transmit Prog. Change 


- 


100 


(OFF. 1-100) 


'10 


Extension 


(for future) 





- 


127 




41 


Extension 







- 


127 




42 


Extension 







- 


127 




•13 


Extension 







- 


127 




44 


Extension 




' 


- 


127 




•15 


Extension 







- 


127 




46 


Extension 







- 


127 




47 


Extension 







- 


127 




48 


Extension 







- 


127 




•19 


Extension 







- 


127 




50 


Extension 







- 


127 




51 


Extension 







- 


127 




52 


Extension 







- 


127 




53 


Extension 







- 


127 




54 


Extension 







- 


127 




55 


Extension 







- 


127 




56 


Extension 







- 


127 




37 


Extension 







- 


127 




58 


Extension 







_ 


127 




59 


Extension 







- 


127 




60 


Extension 







— 


127 




61 


Extension 







- 


127 




62 


Extension 







- 


127 




03 


Extension 







— 


127 




4-7 


Each reverb 


block (17 - 


32) consists of the 


ollowing. 




! 0000 


aaaa | 


Reverb data 


l 








I 0000 


aaaa I 












2 I 0000 


aaaa 1 


Reverb data 


2 








I oooo 


aaaa ! 










3 


74 | 0000 


aaaa I 


Reverb data 


188 






1 0000 


aaaa E 













5.1 Data set (One way) 



DTI 12H 



When Request Data (ROD is recognized, the data within the range set with RQ-I 
messages will be transmitted on the channel set with MIDI CH in MIDI Punc, 
rcgardlss of the transmit channel set with TxCH in Patch Func. 

When any of Patch Group, Bank or Number is changed by operating the panel 
of the unit and if Exclu in MIDI Func is set to P— Dump, all data in Temp, area 
will be transmitted on the channel set with TxCH in Patch Func. 



Bvte 



a 

b 
c 


1)11 0000 
0100 0001 
0000 nnnn 


d 



i 
8 

h 


oooi oioo 

000) 0010 
Oaaa aaaa 
Obbb bbbb 
Occc cccc 

Oddd dddd 


J 
k 


Oece ecce 
1111 0111 



Description 

Exclusive status 

Roland ID # 

Device ID # ■» MIDI basic channel 

where nnnn + 1 = channel # 

Modet-ID # ( D-50 ) 

Command -ID # ( DTI ) 

Address MSB *5-l 

Address 

Address LSB 

Data *5-l 

Checksum 

End of System Exclusive 



Notes : 

*5-l Transmitted several times in smaller portion than the lota) number 256 in 

data byte of each message acrcodmg to the address size assinged with 

Request Data (RQ1). 

6. RECOGNIZED EXCLUSIVE MESSAGES IN NOMAL MODE 
6.1 Request Data (One way) RQ1 11H 

Recognized if Exclu in the MIDI function is ON or P-Dump. 
Byte Description 



Exclusive status 

Roland ID # 

Device-ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-50 ) 

Command-ID # ( RQ1 ) 

Address MSB *6-l 

Address 

Address LSB 

Size MSB *6-l 

Size 

Size 1.SB 

Checksum 

End of System Exclusive 



6.2 Data set (One way) DTI 12H 

Recognized if Exclu in the MIDI function is ON or P-Dump. 



a 


1111 


0000 


b 


0100 


0001 


c 


0000 


nnnn 


d 


0001 


0100 


e 


0001 


0001 


f 


Oaaa 


aaaa 


8 


Obbb 


bbbb 


h 


Occc 


cccc 


i 


Oddd 


dddd 


1 


Oece 


eeee 


k 


Offf 


ffff 


I 


Oggg 


ssss 


m 


1111 


0111 



Byte 



Description 

Exclusive status 

Roland ID # 

Device ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Modet-ID # ( D-50 ) 

Command -ID # ( DTI ) 

Address MSB *6-l 

Address 

Address LSB 

Data *6-2 

Checksum 

End of System Exclusive 



Notes : 

*6-l Any address size can be assinged within the range of Temp^rea. 

*6-2 Number of the data bytes should not exceed 256. (except sum) 



a 
b 
c 


nn oooo 

0100 0001 
0000 nnnn 


d 
e 

f 
g 
h 
i 


0001 0100 

0001 0010 
Oaaa aaaa 
Obbb bbbb 
Occc cccc 
Oddd dddd 


i 
k 


Oeee eeoe 
1111 0111 



All the 188 data (376 byte) are related each other, therefore receiving or sending 
a pari of data docs not achieve anything. 



11 



7, TRAN'SMriTKP EXCLUSIVE MESSAGES. IN DATA TRANSFER MODE 

No matter what tranmit channel is setecled with TxCIl in Patch Func, the messages 
are transmitted on the channel set with MIDI CH in MIDI Puna 



7.1 One way transfer 
7.1.1 Data set 



DTI 12H 



Transmitted when 'ENTER' button is pressed in Tiulk Dump.0" 

mode. 



Byte 

a 1111 0000 

b 0100 0001 

c 0000 nnnn 

d 0001 0100 

c oooi ooio 

[ Oaaa aaaa 

g Obbb bbbb 

h Occc cccc 

i Oddd dddd 

j Oeee eeee 

k 111! 0111 



Description 

Exclusive status 

Roland ID # 

Device-ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # (D-50) 

Command-ID # ( DTI ) 

Address MSB 

Address 

Address LSB 

Data 



*7-I 



*7-2 



Checksum 

End of System Exclusive 



d 0001 0100 
c 0100 0011 

f mi oui 

7.2.5 End of data 

Byte 

a 1111 0OO0 
b 0100 0001 
c 0000 nnnn 

d 0001 0100 

e 0100 0101 
( 1111 0111 

7.2.G Rejection 

Bvte 

a 1111 0000 
b 0100 0001 
c 0000 nnnn 

d 0001 0100 
e 0100 1111 

f mi oin 



Model-ID # ( D-50 ) 
Command-ID # ( ACK ) 
End of System Exclusive 

EOD 45H 

Description 

Exclusive status 

Roland ID # 

Device-ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model- ID # ( D-50 ) 

Command-ID # (EOD) 

End of System Exclusive 

RJC 4FH 

Description 

Exclusive status 

Roland ID # 

Device- ID # - MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-50 > 

Command -ID # ( RJC ) 

End of System Exclusive 



7.2 Handshaking communication 
7.2.1 Want to send data W$D 40H 

Transmitted %vhen 'ENTER' button is pressed in "Bulk Dump' 

mode. 



Byte 



a 


Ull 0000 


b 


0100 0001 


c 


0000 nnnn 


d 


0001 0100 


c 


0100 0000 


f 


0000 0010 


s 


0000 0000 


h 


0000 0000 


i 


0000 0010 


J 


oooo mi 


k 


0000 0000 


I 


0110 1)01 


m 


mi om 



Description 

Exclusive status 

Roland ID # 

Device -ID # » MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # (D-50) 

# ( WSD ) 



Notes : 

*7-l Address of first Data set command (DTI, DAT ), Want to send 

data ( WSD ) or Request data ( RQD ) is [02-00-00] top of 

memory area. 

*7-2 Number of data in data set ( DTI, DAT) is not exceed 256. 
*7~3 Number of memory data (including reverb 17 - 32). 

8. RECOGNIZED EXCLUSIVE MESSAGES IN DATA TRANSFER MODE 



7.2.2 Request data 



Command-ID 

Address MSB 

Address 

Address LSB 

Size MSB 

Size 

Size LSB 

Checksum 

End of System Exclusive 

RQD 4IH 



*7-l 



*7-3 



.1 One way transfer 
8.1.1 Data set 
Bvte 



Transmitted when 'ENTER' button is pressed in "Bulk Load' 
mode. 



Bvie 


Description 


a 


nn oooo 


Exclusive status 


b 


0100 0001 


Roland ID # 


c 


0000 nnnn 


Device -ID # = MIDI basic channel 
where nnnn + 1 =■ channel # 


d 


0001 0100 


Model-ID # ( D-50 ) 


c 


0100 0001 


Command- ID # ( ROD ) 


f 


0000 0010 


Address MSB *7-l 


J? 


oooo oooo 


Address 


h 


oooo oooo 


Address LSB 


i 


0000 0010 


Size MSB *7-3 


j 


oooo mi 


Size 


k 


oooo oooo 


Size LSB 


l 


0110 1101 


Checksum 


m 


nn oin 


End of System Exclusive 


7.2.3 Data set 


DAT 4211 


Byte 


Description 


a 


nn oooo 


Exclusive status 


b 


0100 0001 


Roland ID # 


c 


0000 nnnn 


Device- ID # = MIDI basic channel 
where nnnn + 1 = channel # 


d 


0001 0100 


Model -ID # ( D-50 ) 


e 


0100 0010 


Command-ID # ( DAT ) 


f 


Oaaa aaaa 


Address MSB *7-l 


S 


Obbb bbbb 


Address 


h 


Occc cccc 


Address LSB 


i 


Oddd dddd 


Data *7-2 


j 


Oeee ecee 


Checksum 


k 


nn oni 


End of System Exclusive 


7.2.4 Acknowledge 


ACK 43H 


Byte 


Description 


a 


nn oooo 


Exclusive status 


b 


0100 0001 


Roland ID # 


c 


0000 nnnn 


Device- II) # - MIDI basic channel 

where nnnn t- 1 - channel S 



a 


mi oooo 


b 


0100 0001 


c 


0000 nnnn 


d 


0001 0100 


e 


0001 0010 


f 


Oaaa aaaa 


8 


Obbb bbbb 


h 


Occc cccc 


i 


Oddd dddd 


i 


Oeee eeee 


k 


nn oin 


8.2 Handshaking communication 


8.2.1 Want to send data 


Bvte 


a 


nn oooo 


b 


0100 0001 


c 


0000 nnnn 


d 


0001 0100 


e 


0100 oooo 


f 


Oaaa aaaa 


S 


Obbb bbbb 


h 


Occc cccc 


i 


Oddd dddd 


J 


Oeee eeee 


k 


Offf ffff 


1 


Oggg gggg 


m 


nn om 



DTI 12H 

Description 

Exclusive status 

Roland ID # 

Device- ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-50 ) 

Command-ID # ( DTI ) 

Address MSB *8-l 

Address 

Address LSB 

Data *S-2 

Checksum 

End of System Exclusive 



WSD 40H 

Description 

Exclusive status 

Roland ID # 

Device- ID # = MIDI basic channel 

where nnnn + 1 =■ channel # 

Model -ID # ( D-50) 

# ( WSD ) 



Command— ID 

Address MSB 

Address 

Address LSB 

Size MSB 

Size 

Size LSB 

Checksum 

End of System Exclusive 



*8-l 



*8-3 



12 



ROD 4 MI 

Description 

Exclusive status 

Roland ID # 

Device- ID # = MIDI basic channel 

where nnnn + I == channel # 

Model- ID 8 ( I)- SO > 

Command -ID # ( ROD ) 

Address MSB *8-l 

Address 

Address LSB 

Size MSB *8-3 

Size 

Siw: ESB 

Checksum 

End of System Exclusive 

DAI' 4211 

Inscription 

Exclusive status 

Roland ID # 

Device- ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model -ID # ( D-50 ) 

Command- ID # ( DAT ) 

Address MSB *8-I 

Address 

Address LSD 

Data *8-2 

Checksum 

End of System Exclusive 

ACK '1311 

Description 

Exclusive status 

Roland ID # 

Device- ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # < D-50 ) 

Command-ID # ( ACK ) 

End of System Exclusive 

EOD 45H 

Description 

Exclusive status 

Roland ID # 

Device -ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-SO ) 

Command- ID # ( EOD ) 

End of System Exclusive 

ERR 1EH 

Description 

Exclusive status 

Roland ID tt 

Device- ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-50 ) 

Command-ID # ( ERR ) 

End of System Exclusive 

RJC 4FH 



Exclusive status 

Roland ID # 

Device-ID # = MIDI basic channel 

where nnnn + 1 = channel # 

Model-ID # ( D-50 ) 

Command-ID # ( RJC ) 

End of System Exctusive 



Notes : 

*8- ! If the assinged address exceeds Memory area, it is ignores. 

*8-2 Number of data in data set ( DTI. DAT ) should not exceed 256. 

*8-3 The size that exceeds Memory area should not be assinged. 



8.2.2 


Request data 




Bvtc 




a 
b 
c 


Mil 0000 

0100 0001 
0000 nnnn 




d 
c 
( 

S 
h 
i 
J 
k 
1 
m 


0001 OIOO 

0100 0001 
0000 0010 
0000 0000 
0000 0000 
Oddd dddd 
Occc cccc 
Offf ffff. 
Oggg gggg 

iin out 


8.2.3 


Data set 




Bvj 


!£ 




a 
b 

c 


mi oooo 

0100 0001 
0000 nnnn 




d 
e 
f 

8 

h 
i 


0001 0100 

0(00 0010 
Oaaa aaaa 
Obbb bbbb 
Occc cccc 
Oddd dddd 




J 
k 


Occc cccc 
1111 01 II 


8,2.-1 


Acknowledge 




Bvtc 




a 
b 

c 


MM 0000 

0100 0001 
0000 nnnn 




d 
e 

f 


0001 0100 

0100 0011 

nil otn 


8.2.3 


End of data 




Rv 


ic 




a 
b 
c 


nn oooo 

0100 0001 
0000 nnnn 




d 

e 

f 


0001 0100 

oioo oioi 
n n oni 


8.2.6 


Communication error 




Byte 




a 
b 

c 


nn oooo 

0100 0001 
0000 nnnn 




d 

e 

f 


0001 0100 
0100 1110 

mi otn 


8.2.7 


Rejection 




Byte 




a 
b 

c 


nn oooo 

0100 0001 

0000 nnnn 




d 
c 

f 


0001 0100 
0100 J1J1 
lilt 0111 



9. SEQUENCE OF COMMUNICATION 

9.1 When one way request dala < RQ1 ) is received 

this unit message objective unit 

RQ | 

( DTI ~— • ) 

* lime interval about 20 ms 

( DTI ) 

9.2 When any of Patch Group, Bank or Number is changed by operating the panel 
of the unit and if Exclu in MIDI Func is set to P-Dump, all data in Temp, area 
will be transmitted. 



this unit 



message 



objective unit 



Program 
change - 



< DTI -■ 



) 



* time interval about 20 ms 

( DTI — ' ) 

9.3 When one way data set < DTI > is received 

this unit message objective unit 

_ — _ dti 

*kcep time interval more than 20 ms 
, on 



DTI 



9.4 In the 'Bulk Dump' mcxic 



Dala in all memory areas, including Reverbs 17 to 32, is transmitted from the 
beginning. 



this unit 



objective unit 



DTI 



* time interval about 20 ms 



Dn — 

9.5 In the 'Bulk Load' mode 

Data in all memory areas, including Reverbs 17 to 32, is transmitted from the 
beginning. 



this unit 



objective unit 



-DTI 



* Keep lime interval more than 20 ms 
_ DTI 

, DTI 



Notes : 

*lt sends RJC and stops the sequence when it receives ERR or detects some error. 

*!t sends RJC when the sequence is discontinued manually. 

*)t stops the sequence immediately when it receives RJC. 



13 



9.6 In the 'Bulk Dump' mode 



10.3 Want to send data (WSO) 



When Request data (ROD) is recongm'zed, data area defined by RQD is transferred. 
If not recognized, data in all memory areas, in eluding Reverbs J 7 io 32 is 
transferred. 



this unit 



message 



objective unit 



WSD 



ACK (orRQD) 



DAT 



ACK 



DAT 



ACK 



EOD 



ACK 



9.7 In the 'Bulk Load' mode 



When "Want to send"data (WSD) is recognized, data area defined by WSD is 
transferred. If not recognixed, data in ail memory areas, in eluding Revcrys 17 io 
32 is transferred. 



this unit 



message 



objective unit 



RQD 



WSD 



ACK 



DAT 



ACK 



DAT 



ACK 



EOD 



ACK 



Notes: 
*t sends RjCand stops the sequence when it receives ERR or detects some error. 

*It sends RJC when the sequence is discontinued manually. 

*!t stops the sequence immediately when it receives RJC. 
10. HOW TO USE EXCLUSIVE MESSAGES 
10.1 DataSet (DTD 

To set Pitch Coarse and Pitch Fine in Upper I'artial — 1 . transmit the following 

messages to the D-50. 



To send only Patch memory 1-1 data, send the following want to send data (WSD) 
messages. 



bvie 


Description 


a 


FOh 


Exclusive status 


b 


4lh 


Roland IDS 


c 


OOh 


Device-ID# (MIDI basic channels) 


d 


14h 


Model -ID# (D-50) 


e 


•tOh 


Command- ID# (WSD) 


f 


02h 


Address MSB (patch memory 1-1) 


S 


OOh 


Address 


h 


OOh 


Address LSB 


! 


OOh 


SizeMSB (size=448) 


J 


03h 


Size 


k 


40h 


SizeLSB 


1 


3Bh 


Check sum 


m 


F7h 


End of System Exclusive 



After the above messages are recongm'zed, the address size check of the later Data 
set (DAT) messages is performaed according to the address size set with these 
messagges. 

10.6 Request data (RQD) 

To send only Patch memory 1-1 data, send the following Request data <RQD) 
messages 



byje 


Description 


a 


FOh 


Exclusive status 


b 


41h 


Roland 1D# 


c 


OOh 


Device-ID# (MIDI basic channcl=l) 


d 


14h 


Model- ID # <D-50) 


e 


41h 


Command -ID# (RQD) 


f 


02h 


Address MSB (patchmemoryl-1) 


g 


OOh 


Address 


h 


OOh 


Address LSB 


i 


OOh 


SizeMSB (size=448byte) 


s 


03h 


Size 


k 


40h 


SizeLSB 


1 


3Bh 


Check sum 


m 


F7h 


End of System Exclusive 



When the above messages are recognized, the defined data area is transmitted with 
Dta set (DAT) messages, then End of data (EOD) is transmitted. 



byte 


Description 


a FOh 


Exclusive status 


b 41h 


Roland 1D# 


c OOh 


Device-!D# (MIDI basic channel=l) 


d 14h 


Model -IDS (D-50) 


e 12h 


Command-ID# (DTI) 


t OOh 


Address MSB (Pitch Coarse of Upper Partial- 1) 


g OOh 


Address 


h OOh 


Address LSB 


i 24h 


Data (Pitch Coarse = CO 


j 32h 


Data (Pitch Fine=0 (senter)) 


k 2Ah 


Check sum 


1 F7h 


End of System Exclusive 



When parameter's addresses are consecutive like the above example, one messages 
can set data for up to 256 parameters. 

10.2 Request Data (RQ1) 

To request the D-50 to transmit all parameters data in Temp, area, sent the 
following messages. 



byte 


Description 


a 


FOh 


Exclusive status 


b 


41h 


Roland 1D# 


c 


OOh 


Device- ID # (MID! basic channcl=l) 


d 


14h 


Model -ID# (D-50) 


e 


llh 


Command -IDS (RQD 


f 


OOh 


Addres sMSB (top of temp, area) 


S 


OOh 


Address 


h 


OOh 


Address LSB 


i 


OOh 


Size MSB <size=448) 


J 


03h 


Size 


k 


40h 


SizeLSB 


I 


3Dh 


Checksum 


m 


F7h 


End of System Exclusive 



When the data size exceeds 256 is received. D - 50 deviced. the data into two and 
transmit them. 



14 



[D-50xxVyh-Vy77D-50 EDIT MAP] 



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